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L/eceniher 

20 Cenu . 






V 



IS VIRGINIA RAPPE STILL ALIVE? 

THE MOST AMAZING MESSAGE EVER PUBLISHED ON PAGE 20 




Comp are It With a Diamond 



Solid Gold 
Mountings 



Flat Belcher Riq^ 

No. 1. Solid gold mount- 
ing. Eight clawdesign with 
flat wide band. Almost a 
carat, guaranteed genuine 
Tifnite Gem. Price $12.50; 
only S3.50 upon arrival, bal- 
ance $3 per month. Can be 
returned at our expense 
within 10 daye. 

Ladies' Ring 

No. 2. Solid gold mount- 
ing. Has a guaranteed gen- 
uine Tifnite Gem almost a 
carat in size. Price $12.50; 
only 33.50 upon arrival, bal- 
ance S3 per month. Can be 
returned at our expense 
within 10 days. 

Tooth Belcher Ring 

No. 3. Solid gold, 6 prong 
tooth mounting. Guaran- , 
teed genuine Tifnite Gem, 
almost a caratin size. Price 
SI2.50; only $3.50 upon ar- 
rival. Balance $3.00 per 
month. Can be returned at 
our expense within 10 days. 



To quickly introduce into every locality civ beautiful TIFNITE GEMS, 
we will absolutely and positively send them out FREE and on trial for 10 days' 
wear. In appearance and by every test, these wonderful gems are so much like 
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Send the coupon NOW! Send no money. Tell us which ring you prefer. 
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The Tifnite Company / 

511 South Plymouth Court Dept ^^t Chicago. IIL * 



brilliancy, cut and polish. Stand every 



How to Order Rings ^^^1*.':%'^?" 

strip of heavy paper bo that the ends exactly meet 
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Send the strio of paper to lis with order coupon. 



Mail This Coupon 



THE TIFNITE CO. 

F 511 So. Plymouth O. Dept. 1964 Chicago, DL 

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Name . 



AddrttHb . 



SCREENLAND 



Page Three 



T^e Only Sure Miy to Avoid 
Embarrassment 




Do you know the correct 
thing to say in this embar- 
rassing situationt 




Do you know the correct 

thing to wear to every social 

occasion f 




Do you know how to word 
invitations, acceptances, etc.f 




Do you know how to create 

conversation when left alone 

with a noted person' 




WE have all had our embarrassing 
moments. We all suffered mo- 
ments of keen humiliation, when 
we wished that we had not done or said 
a certain thing. We have all longed, at 
some time or other, to know just what 
the right thing was to do, or say, or 
write. 

Every day, in our business and social 
life, puzzling little questions of good 
conduct arise. We know 
that people judge us by 
our actions, and we 
Want to do and say only 
what is absolutely in 
good form. But, oh, 
the embarrassing blund- 
ers that are made every 
day by people who do 
not knowt 



The Only Way 



What Would 
YOU Do— 

• f several plates and 
i^wif- chafliiR-cllsh wore 

** set before you in a 
restaurant and you did not 
know how to U3e them? 
arrived late 



Do }«« know what to say 

when you arrive late at an 

entertainment f 



There is only one 
sure way to be calm and 
well-poised at all times 
— to be respected,^ hon- 
ored, and admired 
wherever you happen to 
be. And that is by 
Knowing definitely, posi- 
tively, the correct thing 
to do on all occasions. 
Whether you are dining 
in the most exclusive 
restaurant or at the 
most humble home, 
whether you are at the 
most elaborate ball or 
the most simple barn- 
dance, whether you are 
in the company of bril- 
liant celebrities or ordi- 
nary people, you will 
be immune to all em- 
barrassment, you will be safe from all 
blundering mistakes — if you know the 
simple rules of etiquette. 

What Is Etiquette? 

Etiquette is not a fad. It is not a 
principle or theory or belief. It is meant 
not merely for the very wealthy or for 
the extremely well-educated. It is meant 
for all people, who, in the course of 
their everyday life, find it necessary to 
keep themselves well in hand; to im- 
press by their culture, their dignity; to 
know how to be trusted and respected 
in business, and admired in the social 
world; and for women who wish to be 
considered at all times cultured and 
charming. 

It is embarrassing to overturn a cup 
of coffee and not know just what to say 
to the hostess. It is embarrassing to 
arrive late to an entertainment, and not 
know the correct way to excuse your- 
self. It is embarrassing to be introduced 
to some brilliant celebrity, and not know 
how to acknowledge the introduction 
and lead subtly to channels of interest- 
ing conversation. 

The man who is polished, impressive, 
and the woman who is cultured, will 
find the doors of the most exclusive 
society opened to admit them. But the 
world is a harsh judge — and he who 
does not know what to do and say and 
wear on all occasions will find himself 
barred, ignored. 

You have often wondered how to 
word invitations, how to acknowledge 
introductions, how to ask a lady to 
dance, how to act at the wedding, the 
funeral, the theatre, the opera. Here 
is your opportunity to find out the 
absolutely correct thing to do, say, write 
and we-ir on all occasions. 

The Book of Etiquette, in two large 
volumes, covers every detail of every- 
day etiquette. It tells you how to act 
at the dinner table, how to excuse your- 



^^ll at an entertain' 



self if you drop a fork, how to accept 
and refuse a I'ance, how to write and 
answer invitations, how to make and ac- 
knowledge introductions. It tells you 
what to wear to the dinner, the dance, 
the party, what to take on week-end 
trips and on extended summer trips. 

You cannot do without the Book of 
Etiquette. You need it to refer to 
whenever some important event is 
pending. You need it 
to refer to whenever 
you are in doubt, when- 
ever you are puzzled, 
anxious. It corrects 
the blunders you have 
perhaps unknowingly 
been making; helps you 
to avoid all embarrass- 
ment; shows you the 
way to be always, at 
all times, cultured, im- 
pressive and charming. 




you 

at ai 

ment? 

you overturned 



• ^ <^ 

^■■If CUD Of coffee on 

• your iiostess' table- 
Hren? 

• £ you were intro- 
"■"Ir duced to a noted 

celebrity and were 
left with him. or her. 
alone? 

• f you were not 
^■"ir asked to danco at 

*' a baUt 



• £ you made an em- 
^■^Ir barrasslng blunder 
at a formal affair? 
These are only a few of 
the hundreds of situations 
In wUch you should tmow 
exactly the correct tiling 
to do or say. 



Send No Money 

Five-Day FREE 

Examination 

The complete two- 
volume set of the Book 
of Etiquette will be 
sent to you FREE for 
S days. Glance through 
the books. Read a page 
here and there. See for 
yourself some of the 
blunders you have been 
making. You will im- 
mediately realize that 
the Book of Etiquette 
is a wonderful help to 
you. 
Just mail the coupon below, filled in 
with your name and address. Don't 
send any money — just the coupon. The 
two-volume Book of Etiquette will be 
sent to you at once — FREE to read, 
examine and study. After S days, you 
have the privilege of returning the 
books without obligation, or keeping 
them and sending $3.50 in full pay- 
ment. 

Do It NOW! 

Send off the coupon today — now — 
before you forget. You've often won- 
dered what you would do or say in a 
certain embarrassing situation. You've 
often wished you had some authorita- 
tive information regarding right con- 
duct. 

Don't overlook this opportunity to 
examine for yourself the famous Book 
of Etiquette. Don't wait until some 
very embarrassing incident s^nakes you 
regret that • you never knew t^e right 
thing to do or say. Here's your op- 
portunity to examine the Book of Eti- 
quette in your own home without cost. 
You cannot afford to miss this oppor- 
tunity. Mail the coupon NOW. Nel- 
son Doubleday, Inc., Dept. 8712, Oyster 
Bay, N. Y. 



Do you know the embarras- 
sing blunders to be avoided 
at the weddingf 



y~~^. 




Do you know the correct 
way to introduce people? 




Do you know how to avoidp 

embarrassment at exclusive{ 

restaurants? U 




Do you know the coned 

etiquette of the theatre and 

opera? 



* NELSON DOUBLEDAY. INC. 

J Dept. 8712. Oyster Bay/N. Y, 

Without money in advance, or obligation on my part, send me the Two Volume 

t set of the Book of Etiquette. WitlUn 5 days I will cither return tho hooks or send 

d you $3.50 In full payment. It is undei'Stood that I am cut obliged to k&cii the 

books if I am. not delighted with them. 

# 
t 

Name 

1 (Please write plainly.) 






Address 

4 t~~\ Check this square If you want these books with the beautiful full Iciither 

' LJr ■■ 



I blndinn at $5.00, with 5 days' examination privilege. 



Pag0 Four 



SCDEEMLAND 







we pay tho 
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\ years places this 
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your reachl Has 
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LESTER-ROSE CO. *^*"^*' 



You 
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back 
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"" fe 

Deliv- 
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5 Year Guarantee 

TYPEWRITERS 

5 Days Free Trial 
% manufacturers' price — Remington, 
Smith, Underwood, etc. Send for Illus- 
trated circular at once. International 
Typewriter Exchange, 177 N. State St, 
Dept A-18, Chicago, Ills. 



Have you asked us F 

Every day readers of SCREENLAND 
bring their problems to us for solu- 
tion. 

Here are only a few of the questions 
we answer each day: 

"Where can I train for motion picture 
acting?" 

"Recommend a school of Scenario writ- 
ing." 

"Where can I rent a Pathe professional 
motion picture cameraT" 

"Where can I bay bathing girls photosf" 

"When will the folloviing pictures be re- 
leased in Freeport, Illinoisf" 

"Give a short biography of Dr. Albert 
Einstein." 

What Is your Interest? Write us. 
Communication held in strictest con- 
fidence. 

Screenland Service Bureau 
An Auxiliary Brain That Never Forgets 
Markham Building, Hollywood, 
California 
New York Chicago 

120 Firth Avenue Wrlgley Building 

Boston 
Little Bldg. 
Paris: 9S, Avsnue de Verdun 
Bols — Colombet "Seine" 
Questions will be answered on any sub- 
ject except employment. There Is no 
charge In connection wlUi this aerrlce. 




Paramount Star 



Cedl B. DeJUUe Artcraft 
Player 
HERMO "HAIR-LUSTR" 

(Keeps the Hair Dressed) 
For Men. Women and Children 

The h:dr will stay dressed after Ilermo "HAIR- 
LUSTR" has been applitsd. No more mussy, un- 
tidy lookiuK hair. Adds a charming sheen and 
luster, insuring tho life and beauty of the hair. 
Dress it In any of the prevailing styles and It will 
stay that way. Gives the hair tlmt soft, glossy. 
well groomed appearance so bfconilng to the stars 
of the stage and ttcreen. Guaranteed harmless. 
greaseless and stainless. 

SOe and $1 at Your Dealer or Direct 

If your dealer can't supply you wo will send It 
tUrect prepaid upon receipt of price. Use It 5 
days. If dlssati.'ifled return what Is left and your 
money will be refunded in full. Thousands use it 
daily. Try It onre. ynu will nerer be without It. 
HFRMO CO.. 542 E. 63rd St.. Dept. SlQ. CHICAGO 




YOUR SCRIPT - - - - 

Reconstructed and Typed 

Detailed Criticism Given 

Marketing Suggestion Offered 

Hollywood Manuscript Service 

104 MARKHANi BUILDING 
HOLLYWOOD, CALIFORNIA 




'Use—' 



Gervaise Graham 
Hair Color 

A clear, clean, harmless liquid 
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stores the original color and natural 
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Gray Hair 

Sample and advice sent upon request. 
At all dealers or by mail, price f 1.60. 

Gervaise Graham, 29 W. Illlnola, 
Chicago 



STUDIOS AND ADDRESSES 



Astra Stndioa Glendale, Calif. 

Balboa Studio East Long Beach, Calif. 

Belasco Studios, 833 Market St., San Francisco 
Chester Bennett Prod 

Brunton Studio, Hollywood 

Blue Ribbon Comedies 

1438 Gower St., Hollywood 

Brunton Studio, S300 Melrose Ave., Hollywood 
Berwilla Studios 

.... S821 Santa Monica Blvd., Hollywood 
Century Film Corp 

6100 Sunset Blvd., Hollywood 

C. I,. Chester Productions 

1438 Gower St., Hollywood 

Christie Comedies 

6101 Sunset Blvd., Hollywood 

Irving Cumraings Prod... 1729 Highland Ave. 
Doubleday Prod 

....Sunset and Bronson Ave., Hollywood 
Earle Ferdinand Prod 

Hollywood Studios, Hollywood 

\Vm. Fox West Coast Studio 

1417 N. Western Ave., Hollywood 

Fine Arts Studios 

4500 Sunset Blvd., Hollywood 

J. L. Frothingham Prod Brunton Studio 

Carson Studios. .1845 Glendale Blvd., Glendale 

Goldwyn Studio Culver City 

Great Western Producing Co 

6100 Sunset Blvd., Hollywood 

Thos. H. Ince Prod Culver City 

Lasky Studios 1520 Vine St. 

Lois B. Mayer Studios 

3800 Mission Road, Los Angeles 

Metro Studio 

Romaine and Cahuenga Ave., Hollywood 

Morosco Productions 3800 Mission Road 

Bud Osborne Productions. . .6514 Romaine St. 

Pacific Studios Corp San Mateo, Calif. 

Pacific Film Co Culver City 

Mary Pickford Co., Brunton Studios, Hollywood 
RD Film Corp.. Balboa Studios, Long Beach 
Realart Studio.. 201 N. Occidental, Los Angeles 
Robertson Cole Prod 

Melrose and Gower, Hollywood 

Will Rogers Prod 

....Hollywood Studios, 6642 S. M. Blvd. 

Russell-Griever-Russel 6070 Sunset Blvd. 

Hal E. Roach Studio Culver City 

Morris R. Schlank Prod 6050 Sunset 

Chas. R. Seeling Prod 

1240 S. Olive, Los Angeles 

Selig-Rork. ..3800 Mission Road, Los Angeles 

Universal Studio Universal City, Calif. 

King Vidor Prod... Ince Studios, Culver City 
Vitagraph Studio. 1708 Talmadge, Los Angeles 
Western Features, Inc 

5544 Hollywood Blvd., Hollywood 

Cyrus J. Williams Co 

4811 Fountain Ave., Hollywood 

Wilnat Films, Inc 

1329 Gordon St., Los Angeles 

Ben Wilson Productions Berwilla Studios 

EASTERN STUDIOS 



Biograph Studios ... 807 E. 175th St., N. Y. C. 

Blackton Studios Brooklyn, N. Y. 

Estee Studios 124 W. 125th St., N. Y. c! 

Fox Studios West 55thh St., N. Y. C. 

D. W. GrifBth Studios Mamaroneck, N. Y. 

International Film.... 2478 2nd Ave., N. Y. C. 
Harry Levy Prod... 230 W. 38th St., N. Y. C. 

Lincoln Studio...., Grantwood, N. J. 

Mirror Studios, Glendale, Long Island, N. Y. 

Pathe 1990 Park Ave., N. Y. C. 

Selznick Studios Fort Lee, N. J. 

Talmadge Studios. .318 East 48th St.. N. Y. C. 
Vitagraph Studios.. E. l!th St., Brooklyn, N.Y. 



SCfiEEKLAND 



Pagg Five 



I Teach You Piano 
In Half Usual Time 




To persons who have not previously heard 
of my method, this may seem a pretty bold 
statement. But I will gladly convince you 
of its accuracy by referring you to any num- 
ber of my graduates in any part of the world. 

There isn 't a State in the Union that doesn 't con- 
tain many players of the piajio or orgtin who ob- 
tained their training from me by mail. I have far 
more students than were ever before taught by one 
man. Investigate by writing for my 6,4- 
page free booklet, "How to Learn 
Piano or Organ." 

My way of teaching piano or organ 
is entirely different from all others. 
Out of every four hours of study, one 
hour is spent entirely away from the 
keyboard, learning something about 
Harmony and The Laws of Music. This 
is an awful shock to most teachers of 
the "old school," who still think that 
learning piano is solely a problem of 
"finger gymnastics." When you do 
go to the keyboard, you accomplish 
twice as much, because you under- 
stand what you are doing. Within 
four lessons I enable you to play an 
interesting piece not only in the ori- 
ginal key, but in other keys as well. 
I make use of every possible scien- 
tific help — many of which are entirely 
unknown to the average teacher. My 
patented invention, the COLORO- 
TONE, sweeps away playing difficul- 
ties that have troubled students for 
generations. By its use Transposition 
— usually a "nightmare" to students — 
becomes easy and fascinating. With 
my fifth lesson I introduce another im- 
portant and exclusive invention, 
QUINN-DEX. Quinn-Dex is a simple, 
hand-operated moving-picture device, 
which enables you to see, right before 
your eyes, every movement of my 
hands at the keyboard. You actually 
see the fingers move. Instead of hav- 
ing to reproduce your teacher's finger 
movements from MEMORY — ^which 
cannot be always accurate — you have 
the correct models before you during 
every minute of practice. The COLOR- 
OTONE and QUINN-DEX save you 
months and years of wasted effort. 
They can be obtained only from me, 
and there is nothing else, anywhere, 
even remotely like them. 







Marcus Lucius Quinn 
Conservatory of Music 




DR. QUINN AT HIS PIANO 

From the Famous Sketch by Schneider, Exhibited 
at the St. Louis Exposition 

Men and women who have failed by other methods have 
quickly and easily attained success when studying with me, 
In all essential ways you are in closer touch with me than 
if you were studying by the oral method — yet my lessons 
cost you only 43 cents each — and they include all the many 
recent developments in scientific teaching. For the student 
of moderate means, this method of studying is far superior 
to all others; and even for the wealthiest students there is 
nothing better at any price. You may be certain that your 
progress is at all times in accord with the best musical 
thought of the present day, and this makes all the differ- 
ence in the world. 

My Course is endorsed by distinguished musicians, who- 
would not recommend any Course that did not maintain 
the highest musical standards. It is for beginners or ex- 
perienced players, old or young. You advance as rapidly 
or as slowly as you wish. All necessary music is supplied 
without extra charge. A diploma is granted. Write today, 
without cost or obligation, for 64-page free booklet, "How 
to Learn Piano or Organ." 



FREE BDDK 




StudlolSLSa 



598 Columbia Road, Boston, 25, Mass. 



i.1?REE BOOK COUPON- 



QUINN CONSERVATORY, Studio SL32 
598 Columbia Road, Boston, 25, Mass. 

Please send me, without cost or obligation, your free book- 
let, "How to Learn Piano or Organ," and full particulars of 
your Course and special reduced Tuition Offer. 



Name _. 
Address 



Page Six 



SCREEMLAND 



CLASSIFIED ADVERTISING 

Rate 5 cents a word. 
Last forms Jan. Issue close Nov. 20 



SONG WRITERS 



WRITE THE WORDS FOR A SONG. We 
will compose music, secure copyright, and 
print. Submit poems on any subject. SETON 
MUSIC COMPANY, 920 S. Michigan Ave., 
Room 195, Chicago. 

WRITE THE WORDS FOR A SONG. We 
write music, copyright, and endeavor to pro- 
mote popularity and outright sale. Bell 
Studios, 1490 Broadway, Dept. 726, New York. 

WRITE THE WORDS FOR A SONG. We 
write music and guarantee to secure publica- 
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Studios, 262 Fitzgerald Bldg., New York. 

SONG WRITERS— If you have song poems 
or melodies write me immediately. Ji have 
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you. Write me now. Ray Hlbbeler, D167, 
4040 Dickens Ave., Chicago. 



HELP WANTED 

MEN WANTED to make Secret Investiga- 
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Write J. Ganor, Former Gov't Detective, 14B 
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BIG MONEY AND FAST SALES— Every 
owner buys Gold Initials for his auto. You 
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easy. Write for particulars and free samples. 
American Monogram Co., Dept. 172, East 
Orange, New Jersey. 



PHOTOPLAYS 

$$$ FOR IDEAS. Photoplay Plots accepted 
any form; revised, criticized, copyrighted, 
marketed. Advice free. Universal Scenario 
Corporation, 926 Western Mutual Life Bldg., 
Los Angeles. 

PHOTOPLAYS WANTED FOR CALIFOR- 
NIA PRODUCERS; also Stories for publica- 
tion. (Manuscripts sold on commission.) 
Submit manuscripts, or If a beginner, write 
for Free Plot Chart and Details. Harvard 
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AMBITIOUS WRITERS send today for 
Free Copy America's leading magazine for 
writers of Photoplays, Stories, Poems, Songs. 
Instructive, Helpful. Writers Digest, 638 
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WRITERS— We win put your stories In 
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EDITORIAL SERVICE— High class work. 
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SCENARIOS 

STUDIOS WANT SCENARIOS— Scenarios 

revised and typed 50 cents a page; submitted 
to studios $1.00 a month. Selling 10 per cent. 
Several years' experience. Will M. Glass 
Studio Parlors, 336 North Benton Way, Los 
Angeles. Calif. 



BOOKS 

Sex Books for Professional and Advanced 
Adult readers. Modem Book Society, 228-280 
West e2nd St., Desk Screen, New Tork. 



PLAYS 



PLAYS, musical comedies and revues, 
minstrel choruses, blackface skits, vaude- 
ville acts, monologs, dialogs, recitations, en- 
tertainments, musical readings, stage hand- 
books, make-up goods. Big catalog free. 
T. S. Denlson & Co., 623 So. Wabash, Dept. 
82, Chicago. 



ASTROLOGY 



ASTROLOGY. Send dime and birth in- 
formation for reliable scientific test to Plato, 
oldest astrologer. Box 102, Buffalo, N. Y. 
One year's future one dollar. 



STAIVIPING NAIVIES 



MAKE $19 per 100, stamping names on key 
checks. Send. 26c for sample and instruc- 
tions. X Key tag Co., Cohoes, N. Y. 



MAGAZINES 



TO READERS of these classified columns. 
SCREENLAND offers a special trial sub- 
scription offer of four months for 50c. This 
offer to new subscribers only. Send stamps 
or money order to Dept. C. Screenland, 
Markham Bldg., Hollywood, Calif. 

"SCHEMER MAGAZINE," AUiance, Ohio, 
prints big profit schemes; one subscriber 
made $25,000 from three; another $10,000 
from one. Try your luck. Year, only $1.00; 
three months, 25c. 



MISCELLANEOUS 



SPECIAL OFFER; Black Seven In One, 
genuine leather, crepe grain wallets with 
calendar; sent prepaid for 60c; get yours to- 
day. Portola Art Co., Oakland, CaL 

WANT TO HEAR from owner of farm or 
unimproved land for sale. John J. Black, 
Chippewa Falls, Wisconsin. 

AMATEUR ACROBATS, CLOWNS— Easy 
method expert instructions. Fully illustrated. 
Advanced ground tumbling complete, $2. 
Jingle Hammond, 257 Norton, Pontiac, Mich. 

BEAUTY CONTEST— wm M. Glass, poet, 
scenarist and song writer, announces a 
beauty contest for four of the most beautiful 
girls or ladles In Hollywood to ride in his 
Fourth Annual Song Entry in the Pasadena 
Tournament of Roses parade on January 1, 
1922. Please mall your latest photo or still 
with return postage, also a letter stating your 
ambitions and why you should be chosen as 
one of the Author's Guests of Honor. Will 
M. Glass Studio Parlors, 336 N. Benton Way, 
Los Angeles, Calif. 



PICTURES 

PICTURES. Zee Beautiful Girl Pictures. 
10 wonderful poses $1.00. 18 specials, $2.00, 
Real "Taken from Life" photographs. Your 
money refunded if dissatisfied. Balrart Co., 
1008 St. Louis, Missouri. 

EXTRAORDINARY photographs picture 
stars, bathing girls, 8x10, 60 cts; three, $1.25; 
eight, $3; post cards, 20, $1. Picture Stars 
Photo Co., 268 Station C, Los Angeles, Cali- 
fornia. 



ORIGINAL CARTOONS— Snappy! Size 
7%x9 inches. Handrawn on heavy bristoL 
Just the thing to hang in your room. Suit- 
able for framing. Kid subjects. Send 66c 
today for 3 of these dandy drawings. No 
stamps. R. G. Alcorn, 319 No. L St, Tacoma, 
Wash. 



SCREENLAND'S 

"Movie Party List" 

The following list of the better 
known stars and players of the 
screen can be used in making place 
cards for male guests at a "movie 
party." A list of feminine players 
vyill appear in next month's SCREEN- 
LAND with details for several 
novel entertainment features. In 
using players' names for place cards, 
select the names resembling those 
of the individual guests. For in- 
stance, a guest named "Ra3r" would 
be indicated by "Charles Ray"; for 
a "James" there is "James Kirk- 
wood," and for an "Edward" there 
is "Neely Edwards" or "Eddie Polo." 
Clip out this list and save it until 
you get next month's SCREEN- 
LAND. 

ART ACORD 
JIMMIE ADAMS 
ALEXANDER ALT 
JIMMIE AUBREY 

john barrymore 
Lionel barrymore 

MONTE BLUE 
HOBART BOSWORTH 
MONTE BANKS 
T. ROY BARNES 
CHARLIE CHAPLIN 
LON CHANEY 
HARRY CAREY 
LESTER CUNEO 
CHESTER CONKLIN 
CLYDE COOK 
WILLIAM DESMOND 
WILLIAM DUNCAN 
JACK DRUM 
ELLIOTT DEXTER 
NEELY EDWARDS 
DOUGLAS FAIRBANKS 
WILLIAM FARNUM 
DARRELL FOSS 
RAY GALLAGHER 
HARRY GRIBBON 
WALTER HIERS 
SESSUE HAYAKAWA 
RAYMOND HATTON 
GARETH HUGHES 
JACK HOXIE 
LLOYD HUGHES 
NEAL HART 
LLOYD HAMILTON 
HAM HAMILTON 
CARTER de HAVEN 
THOMAS JEFFERSON 
JOHNNY JONES 
J. WARREN KERRIGAN 
JAMES KIRKWOOD 
BUSTER KEATON 
MONTAGUE LOVE 
BERT LYTELL 
MAX LINDER 
JACK LIVINGSTON 
GAYLORD LLOYD 
FRANK MAYO 
THOMAS MEIGHAN 
OWEN MOORE 
TOM MOORE 
ANTONIO MORENO 
HARRY MYERS 
DOUGLAS MACLEAN 

"BULL" MONTANA 
PETE MORRISON 
LEE MORAN 
EUGENE O'BRIEN 
TYRONE POWER 
KALA PASHA 
CHARLES RAY 
WILLIAM RUSSELL 
JOE RYAN 
WALLACE REID 
WILL ROGERS 
MILTON SILLS 
TOM SANTCHI 
RUSSELL SIMPSON 
LARRY SEMON 
SID SMITH 
FORD STERLING 
HARRY SWEET 
CONWAY TEARLE 
BEN TURPIN 
BOBBIE VERNON 
H. B. WARNER 
BRYANT WASHBURN 
EDDIE POLO 

SNxra poiXaso 



5CREENLAND 



Page Seven 



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Page Eight 



5CREE^(LAND 



Free Proof IStu Can Eat 
A Pound a Day 
Off ^ur Weight 

Famous Scientist Discovers Remarkable Secret That 
Shows Results in 48 Hours! No Medicines, Starving, 
Exercises or Bitter Self -Denials of Any Kind! 



AT last the secret that scientists have beea 
searching for has been discovered. No 
more self-denials or discomfort. Just 
follow the simple new secret, and a pound or 
more of your weight will disappear each day 
— the very first weelc! Most people begin to 
see actual results in 48 hours! 

This new way to reduce is different from 
anything you have ever tried before. It is a 
sure way. Men and women who have been 
struggling for years against constantly increas* 
ing flesh, who have tried everything from 
painful diet to strenuous exercising, find this 
new . method almost miraculous. Scores of 
women who have had to wear special corsets 
and inconspicuous clothes, have been amazed 
at the sudden change that enables them to 
wear the gayest colors and the most fluffy 
styles. Many men whose stoutness made 
them listless and inactive, who puffed when 
they walked quickly, who were deprived of out- 
door pleasures are aston- 
ished at this new discov- 
ery. Not only has it 
quickly reduced their 
weight, but it has given 
them renewed strength and 
vigor. 



You'll enjoy reducing this 
new way — it's so simple and 
easy. Nearly everyone can 
count on a pound a day 
from the very start. You'll 
be down to your normal 
weight before you realize it 
— and without the least bit 
of discomfort. Why, you'll 
actually enjoy your meals 
as never before, and you'll 
feel refreshed, invigorated, 
strengthened. 

Here's the Secret 

Food causes fat — everyone 
admits that. But Eugene 
Christian, the famous Food 
specialist, has discovered that 
certain foods, when eaten 
together, are converted only 
into blood, tissues and bone. 
And in the meantime your 
excess flesh is eaten up in 
energy at the rate of a 
pound or more a dayl 

For instance, if you eat 
two certain kinds of foods 
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muscle, no fat. It's a simple 
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like magic. 

Don't starve yourself! 
Don't punish yourself with 
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comforts whatever! You can 
eat whatever you like and 
do whatever you like. Just 
observe this new sim[)le sys- 
tem of food combinations as 
worked out by Christian and 
watch your excess weight 
vanish! 



What Users Say 

Takes off 40 pounds 

"Before I tried your method 
my weight was 168 pounds. 
My blood was all bad; my heart 
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a single wrinkle. And I now 
weigh only 128 pounds." 
Mrs. Hazel Vermilya, Bloom- 
field, N. J. 
Now 40 pounds lighter 

"It is with great pleasure that 
I am able to assure you that 
the course on Weight Control 
proved absolutely satisfactory. 

"I lost 40 pounds. . ." 

Mrs. Glen Falls, N. Y. 

Reduces 32 pounds 

"Both my husband and my- 
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the suggestions given in Weight 
Control. I lost thirty-two pounds. 
. . . We find our general health 
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Mrs. Charleston, W. Va. 

Weighs 39 pounds less 

"Am thankful that my atten- 
tion was called to your course 
on Weight Control. Since Janu- 
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pounds, and could hardly walk 
a block without resting. I now 
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every morning, weather permit- 
ting, and do it easily." 
Mr. Holton, Kansas. 

The above excerpts from only 
a few hundreds of letters on 
file at our office, describing 
a m a zi n e weight reduction* 
through Weigbl Control. 



How You Can Have Free Proof 

Realizing the importance of his discovery, 
Eugene Christian has incorporated all his 
valuable information into 12 simple lessons, 
called "Weight Control, the Basis of Health," 
which will be sent free to anyone who writes 
for them. These lessons show you how to 
control your weight and bring it down to 
normal by the wonderful new method. They 
reveal all the startling facts about the recent 
food discoveries, and show you how to eat off 
a pound or more of weight a day. 

Prove it! Test this wonderful new way of 
reducing at our expense! See results in 48 
hours — and if you don't there is no cost to 
you. Fat people are not attractive; they suf- 
fer many discomforts; doctors say they die 
young. Why continue to carry this harmful 
weight, when you can lose it so quickly, so 
easily, so naturally? 

Let us send you Eugene 
Christian's Course in 
weight-control on free trial. 
It's the only sure way to lose 
weight quickly and safely. 
We want to prove it. 
We want you to see your 
own unnecessary flesh dis- 
appear. Dieting, medicines 
and exercising touch only 
the surface; this new dis- 
covery gets right down to 
the real reason for your 
stoutness and removes it at 
once. 




No Money in 
Advance 

This is a special Free 
Proof Offer. You need not 
send any money in advance. 
The complete 12 lesson 
course, containing all of the 
valuable information regard- 
ing the wonderful new food 
combination discoveries, will 
be sent free to your door. 
Just mail the coupon and 
the course will be sent to 
you at once. 

As soon as it arrives weigh 
yourself. Then throw aside 
all your medicines and salts 
and dietings and exercises. 
Just follow the simple rule 
outlined in the course — and 
watch results. In a few 
days weigh yourself again 
and notice bow much you 
have lost. Notice also bow 
much lighter your step is, 
how much clearer your eyes 
are, and what a better ap- 
petite you have. You be the 
sole judge of whether or not 
this new method is one of 
the most wonderful discov- 
eries ever made. 

Don't delay. Get your 
coupon off _ at once — now. 
No money, just the coupon. 
When the course is in your 
hands, give the postman 
$1.97 (plus postage) in full 
payment. ^ It will be re- 
funded immediately upon 
request if vou do not see 
a remarkable improveioent 



A Lovely Figure — The Birthright 
of Every Woman 

after 5 days. If more convenient, you may re- 
mit with coupon, but this is not necessary. 

Here's the coupon. Clip it and get it into 
the mail box at once. Remember many people 
lose a pound or more a day — from the very 
start. Mail the coupon NOW. 

(The course will be mailed in a plain con- 
tainer.) 

Corrective Eating Society, Inc. 

Dept. W-22212, 43 West 16tk Street 

New York City 

Corrective Eating Society, Inc. 

Dept. W-22212, 43 West 16th.Street 

New York City 

You may send me, in plain container, Eu- 
gene Christian's Course, "Weight Control — 
the Basis of Health," complete in 12 lessons. I 
will pay the postman only $1.97 (plus postage) 
in full payment on arrival, but 1 am to have 
the privilege of free proof, and if I am nut 
satisfied after a five day trial, my money is 
to be refunded. 

Name 

(Please write plainly.) 

Street Address 

City 

State 



I 



SCBEENIAND 



Page Nine 




FOR 



DECEMBER 



1921 



Vol. Ill 



MYRON ZOBEL, Editor 



No. 4 



Cover Design — Agnes Ayres in "The Sheik" 
An oil portrait from life by 
D. ANTHONY TAUSZKY 
Frontispiece — Lights and Shadows 

California Camera Studv by 
EDWIN BOWER HESSER 
The Editors' Page 
The Shirtsleeves of Matrimony 

By LORNA MOON 
Poverty of Riches — beginning a two-part serial 

By LEROY SCOTT 
Hail the Woman with foreward 

By THOS. H. INCE 
Deeper-than-Skin-Beauty 

By DOROTHY DEVORE 
Is Virginia Rappe Still Alive? 
A Bit o' Scotch 



11 
13 

14 

18 

19 
20 
23 



Little Hints to Playgoers 24-25-44-45-64-66 

Advice to the Screenlorn 

By EVERETT WYNN 26 

Why You Like Him 27 

Furs Are Such a Bother 28 

They Danced Their Way Into the Movies 29 

After the Show 30 



Proud Papas 31 

Hollywood — ^the Athens of America 34 
Penrod with foreword 

By BOOTH TARKING TON 38 

Constance Talmadge Spirit Drawing 40 

And Another Redskin Bit the Dust 41 

Our Own Movie Show 42 

Their Pasts 43 
Eccentric Portraits of Three Stars 

By GEO. H, FISHER 47 
The Kind of a Girl Who Makes a Star 

By MARION FAIRFAX 48 
SCREENLAND-FAIRFAX .Opportunity 

Contest 49 

Honeymoon Bungalows 50 

Your Own Page 52 
What's the Matter With My Story? 
My Maiden Effort 

By BYRON MORGAN 54 

PORTRAITS IN THIS ISSUE: 

Marion Davies 22 Maryon Aye 36 

Mary Miles Minter 32 Eileen Percy 37 

May McAvoy 33 Wesley Barry 39 



IN THE NEXT ISSUE: PETER B. KYNE'S Amusing Impressions of His Own Screen Stories in 
"GAPPY RICKS GOES TO THE MOVIES." LEROY SCOTT'S Concluding Chapters of His 
Great Social Drama— "POVERTY OF RICHES." And many other smashing features— the 
finest number ever of SCREENLAND ! Dont Miss It! 



Published Monthly by Screentand Publishing Company Publication Office: Atascadero, California 

Editorial and General Offices: Entire Fifth Floor, Markham Building, Hollywood, California 

Louis Meyer Lissneb, Vice-Pres. 



MvBON Zobel, Pres^ 

Syl. MacDowell, Associate Editor 

SCREENLAND welcomes the work of new contributors, 
but disclaims responsibility for unsolicited material. Mail con- 
tributions, with return self-addressed, stamped envelopes, to 
Editor, SCREENLAND, Markham Building, Hollywood, Cali- 
fornia. 



Fkank Asuer, Treas. 
Lloyd TukE, Advertising Manager 
Yearly subscription prtce $2.00 in the United States and 
its possessions and in Mexico; $2.50 in Canada; $3.00 in for- 
eign countries. Single copies 20 cents. Back numbers 30 
cents. 

under the act of March 3, 1879. 
reprinted without permission 

Eastern Representatives Drey & Drty, Western Representatives Macy & Klaner 

120 Fifth Ave., New York City Wrigfey BIdg., Chicago, 111. 

New England ReprtsentaHvi Prank Burnt, Liltli Bldg., Boston, Uoti. 
lAttlicont mtmbir Audit Murtou of Circulations) 




Page Ten 



SotEEMLAND 



Tke Secret vT 
Greatnera 





He was a Musical Athlete! 



He sang in the marvelous way that he did because of 
the superb development of his Hyo-Glossus Muscle — the 
muscle that determines the singing quality of every voice. 

Develop your Hyo-Glossus Muscle! A good voice will 
be made better, a lost voice restored, stammering or stutter- 
ing cured. 



The Complete 
Vocal Mechanism 



Your Voice Can Be Improved 100% 



you have a Hyo-Glossus Muscle in your 
1 throat. If it is large and vigorous, you 
have a beautiful voice, you are a "born" 
singer. If it is small, undeveloped, your 
voice is apt to he weak, or harsh, or shrill; 
maybe you stammer or stutter. Weaken and 
abuse this muscle by improper use and you 
lose what singing voice you have. 

GOOD VOICES MADE BETTER 
LOST VOICES RESTORED 

Thru Professor Feuchtinger's methods you 
can develop your Hyo-Glossus Muscle by 
simple, silent muscular exercises, right in 
your own home, in the privacy of your 
own room. 

Strengthen this muscle and your voice be- 
comes full, resonant and rich. Your tones 
will have a color and purity surpassing your 
dreams. If you speak in public your voice 
will have vigor, expression, carrying power 



and endurance, 
be remedied. 



All defects of speech will 



PERFECT VOICE INSTITUTE * 

Studio 1117, 1922 Sunnyside Ave., J 

Chicago, 111. f 

Send me the illustrated, FREE book and < 

facts about the Feuchtinger Method. I have * 

put X opposite subject that interests me most. t 

I assume no obligations whatever. ' 

Singing Speaking Stammering Weak J 

Name ^ 

Address i 

* 
t 

■ t 

Age : *- 



A REAL MONEY BACK GUARANTEE 
The Perfect Voice Institute does not ask 
you to take a chance. We absolutely guar- 
antee that Professor Feuchtinger's methods 
will improve your voice 100% in your opin- 
ion — or refund your money. .You are to be 
sole judge; on your decision depends 
whether or not we keep your money. 

You take no risk. We take no risk. Over 
10,000 pupils have received the happy bene- 
fits of Professor Feuchtinger's methods. 
'They always make good. 

WHO PROFESSOR FEUCHTINGER IS 

Abroad, the name of Feuchtinger is one 
to conjure with. The grandfather of the 
professor was Court Director for the Duke 
of Waldeck; his father was a great musical 
leader during the reign of Charles, King of 
Wurtcmberg. Professor Feuchtinger, A. M., 
is well known in the musical world for the 
work he has done in discovering and per- 
fecting a series of exercises that will de- 
velop the Hyo-Glossus Muscle in any throat 
— the same training that is being offered you 
thru the Perfect Voice Institute. He has 
lectured before many universities and col- 
leges here and abroad. His personal pupils 
run into the hundreds. 



GREAT OPERA STARS AMONG HIS 
STUDENTS . 

Mdme. Puritz-Schuman, Sofie Wiesner, 
Metropolitan Opera; Villy Zuern, Paul Hoc- 
heim, Julius Brischke, Mdme. Marg. Krabb, 
Paul Bauer, Magda Lumnitzer, Adolph Kopp, 
Ylva Hellberg, Anton Hummelstein — these 
are only a few of the operatic song birds 
who have studied under Professor Feuch- 
tinger during his years as a maestro in 
Berlin. 

PRACTICE IN YOUR HOME 

There is nothing hard or complicated about 
the professor's methods. They are ideally 
adapted for correspondence instruction. Give 
him a few minutes a day — that's all. The 
exercises are silent. The results are sure. 

If ambitious to improve or restore your 
voice, you owe it to yourself to learn more 
about the function and the importance of 
the singing muscle — the Hyo-Glossus. Inform 
yourself about this new and scientific method 
of voice culture. The literature we send 
will be a revelation and an education. 

SEND FOR FREE ILLUSTRATED 
BOOKLET TODAY 

Every reader of SCREENLAND is 
cordially invited to send for Professor 
Feuchtinger's great book on this subject. 
It's free if you fill out the coupon below. 
The number of these books is limited. Don't 
delay! Don't wait! Act today! Filling out 
the coupon below may be the turning point 
in your life. Send it right away. 



PERFECT VOICE INSTITUTE 



^ Studio"1117 

1922 Sunnyside Avenue, 



Chicago 



SCREENLAND 



'age 



Eh 




W/^e EDITORS' PAGE 



MYRON ZOBEL 

EDITOR 



MORE CENSORSHIP 

Not only Motion Pictures, but the newspaper, 
magazine and book press of the United States now 
faces censorship. 

Internal revenue officers plan to forbid the press 
from making mirth of prohibition violations. 

Possibly the revenue agents misunderstand the 
point. 

Nobody believes prohibition violation is a joke. 

The joke is prohibition enforcement. 



DISARMAMENT 

I'housands of picturegoers all over America 
have recently applauded a news reel showing the 
launching of our latest dreadnaught, the Wash- 
ington. 

Now a world conference, urged by thousands 
of citizens who demand world peace, deliberates on 
disarmament and the proposal to scuttle the navies 
of the world. 

The world wants peace but is always ready to 
fight for it, as the anonymous Irishman has so 
often said. 



PRESCRIPTION PICTURES 

Long has the laugh been recognized as a healing 
agency but Dr. J. C. Horton of I^s Angeles is 
first to set up a projection nuchine and screen in 
the room of a hospital patient. The good doctor 
then 'prescribed several slapstick comedies and had 
them projected. The experiment was apparently 
a success because the patient recovered.- 

Perhaps the cinemedical specialist of the future 
will go about his daily visits with a theatre director? 
in his hand instead of a materia medica, prescribing 
ribticklcrs instead of bitter pills. 

Then the science of medicine will be added to 
the arts that go toward making up the Motion 
Picture. 



SYLMacDOVELL 

ASSOC. EDITOR 



THE SEX PLAY 

Se.\ plays on the screen . threaten public morals., 
say reformers. 

The popularity of certain "sex successes" they 
point to as a sign of the degeneracy of public taste. 

Will the reformers allow us to mention the 
embarrassing fact that Three Hours After Alarriage 
\v;is the name of a play staged at the Drury Lane 
Theatre, London, in the year 1717. 

It is further chronicled that Three' Hours After 
Marriage was a dull, unsuccessful farce and lasted 
but a few nights. 

We do not agree with the reformers in that 
the world is getting worse. Rather, we suspect that 
sex plays are getting better. 



GLYCERINE TEARS 

It is unfortunate that some cynic has seriously 
convinced most of the world that screen players 
secure the required lachrymose effect in emotional 
scenes with a bottle of glycerine and a medicine 
dropper. 

"Ten years have I been in pictures," a famous 
director said to us the other day, "and I have yet 
to sec a glycerine tear." 

There is an anecdote of three extra girls who 
used to lunch together at the Ince Studios. 

After eating, they would cry. The last to 
bring tears to her cheeks was obliged to pay the 
luncheon checks for all three. 

It was a ludicrous sight but excellent dra- 
matic practice. 

Ah! We nearly forgot to tell you. Those three 
little extra girls are now stars! If you must have 
names, Mabel Normand can tell you who the other 
two girls were. 



Page Twelve 



SCREENLAND 




SUNLIGHT AND SHADOW 

A California Camera Study 

by Edwin Bower Hesser. 

©1921 



SCREENLAND 



Page Thirteen 



A Successful Marriage 




"A wife m a y 
struffgle unaided 
into her coat after 
the theatre per- 
formance while 
friend husband 
goes sailing 
the aisle." 



says Lorna Moon, is one 
in which, when the hec- 
tic passion of romantic 
love has passed, friend- 
ship and respect have 
struck root. 

Miss Moon is an au- 
thority on how to be 
happy though married. 
For five years she wrote 
a daily new^spaper syndi- 
cate column under the 
heading : "Talking It 
Over with Lorna Moon." 
Cecil B. DeMiUe read 
jome of the articles and 
visualized in each the 
fundamental theme for 
motion pictures of the 
satirical type. So Miss 
Moon joined the De 
M i 1 1 e literary staff, 
w^here she worked for a 
year. She is now writing 
original screen vehicles 
for Paramount stars. 
The following article 
was prepared by her for 
SCREENLAND read- 



TKe SKirtsleeves of Matrimony 



THERE is no relation- 
ship in life in which 
courtesy is more nec- 
essary than in the married 
relationship, and there is al- 
most no relationship where courtesy is more universally 
absent. 

A husband is some one to send hither and yonder with- 
out a by-your-leave. A wife may find herself a chair, or 
struggle unaided into her coat after the theatre perfonti- 
ance, while friend husband goes sailing up the aisle. 

It's perfectly all right, when a husband is telling a 
story, to interrupt him with, "Oh no, John dear, you're 
wrong — it was this way." And it's quite in order to 
ignore what friend wife is saying if you have something 
that you want to say yourself. 

It would be much more sensible to omit the promise "To 
love . . . till death us do part" in the marriage cere- 
mony, and substitute a promise to treat the matrimonial 



By LORNA MOON 

Illustration by Everett Wynn 



partner with the same cour- 
tesy we would a stranger. 

That, at least, is within 

our power. Love (meaning 

the grand passion which 

makes us willing to give up our freedom) is an emotion 

beyond our control. We might just as well promise never 

to be run over by a street-car. 

Love doesn't last anyway beyond a few years; the fever 
passes and we become normal again. It would be a ter- 
rible thing if it didn't, like having a continuous attack of 
measles. A successful marriage is one in which, when the 
hectic passion of romantic love has passed, friendship and 
respect have struck root and started to bloom, and mutual 
courtesy is the soil in which these blossoms grow. 

I am not belittling marriage or love. I think it a bless- 
ing that we have this temporary insanity; otherwise we 
might never marry, and so lose the chance to know the 
perfect friendship which a successful marriage can give. 



J^ trru^-^^UJHMy 



Page Fourteen 



SCDEEMLAND 




THE POVERTY 

THE story' opens with a short prologue which is a charming; picture of childhno<<. The time is spring, and 
the scene is a beautiful garden in full bloom. Katherine, six years old, the mother of the stor>-, is 
wheeling ,her doll carriage busily to and fro in the walk of the flower garden, trying to put her doll 
to sleep and showing most serious concern in this ma tcrnal endeavor. Her mother sits near by fondly watch- 
ing her. The doll falls asleep and Katherine tucks he r baby in. She then takes an ecstatic interest in all 
living things about her, tenderly kissing the flowers, etc. Her every act reveals her as the instinctive mother. 
\V^inLE she is doing this, John, aged eight, comes over to play. He is as fine a Iwy as she is a girl. Kath- 
erine puts fingers on her lips as signal to him not to waken the doll. John falls at once into the spirit 
of make-believe. They are exclaiming softly over the flowers, when Katherine calls to her mother and shows 
her a budding plant just sending its first delicate leaf through the ground. "Look, mother, here's a baby 
flower." The mother, a modern and very wise woman, admires it with her, and on the child's question regard- 
ing the origin of the baby plant, she takes a flower, an d loosening some of the seed from its center, and drop- 
ping it on the ground, tells how everything in nature has babies. "The seed from the flower falls to the 
ground, where Mother Nature takes it to her breast, and holds it warm, and nurses it, until it is strong enough 
to come out into the world." She goes on to explain how this principle holds true of all creation, — birds and 
animals and human beings. The children nod understandingly. 

T) Y accident John upsets the doll carriage. With the terrified cry 
of a real mother, throbbing with profoundest emotion, Katherine 
picks up doll, thinking it mortally injured. John and the mother 
try to comfort her. The mother finally convinces Katherine that the 
doll is not hurt, and Katherine wheels the carriage to another part 
of the garden, where she and John proceed to play house with sev- 
eral other of her dolls. She says she is the mother in this house 
and he is the father. There follows business and talk which is 
full of the appealing unconscious . hunnor of unsophisticated child- 
hood. She says, "When I grow up I am going to have a hundred 
children, and you're going to be their father." John says, "Of 
course I am — but I'll have to earn as much as fifty cents or a dollar 
a week to support thcnu" While they are seriously busy over the 
affairs of their make-believe home, and of the problems of this 
tremendous family, the picture FADES OUT — 

Second Episode 

fX^E have various atmospheric and introductory shots of River 
' City, a bustling, active town of the middle west, principally 
dependent on one factory. We show this factory, its size and some- 
thing of its activities. We show the fashionable residential district 
and the country club, both of these the goal of all the young people 
of the town. 

T T is Saturday — around noon. We introduce John, (the boy of 
the prologue) now a young man of about twenty-three, college 
graduate, and for the past year employed in the factory, as middle- 
man between the factory itself and the executives of the corporation 
or important visiting executives of companies who are their cus- 
tomers. We find him on an inspection tour of a certain part of the 
factory, showing Mr. Lyons, General Manager of the factory, a 
certain development in that particular branch, the exact nature of 
which will depend on the factory we select for our background. 
Lyons, looking and showing his approbation of John's intimate 
knowledge of his affairs, leaves him to go back to his office. 
^' OW we go to Katherine's home. (Katherine is the little girl 
of the prologue.) It is Katherine's birthday, but since her 
mother is ill and failing, the party is during the day instead of at 
night, and it is being rather quietly celebrated. Girls are in the 
majority, though there are a number of young men, more of these 
drifting in right after work. Katherine takes Grace, who is her 
closest chum, upstairs to the sewing r«»m, which is locked. Kath- 
erine having the key with her. Grace, who has been married only 
about a year or two, has her baby with her; Katherine shows 
extreme fondness for the child. She plays with it and hugs it, 
lavishing all her affection on it. In the sewing room, the two girls 
exclaim over the trousseau, which is in the making. Get over here 
that John and Katherine have been engaged for a year past, but 
secretly, and that Grace is the only one who knows about it. All 
the preparations are complete, the young people just waiting for 
John's promotion to make an immediate marriage financially possible. 
A T the factory we show Lyons about to leave the place with 
■'"^ Steve, saying just a word to Hendron, office manager. With 
Lyons is Steve, son of the president of the concern, and who is 
actively at work in the factory, that he may become familiar with 
all the routine. After Steve and Lyons have gone, Hendron sends 
Tom, a young clerk in a minor executive position, to get John. 



"Tom tenderly 
takes Grace in his 
arms. trying to 
soothe and quiet 
her. Suddenly they 
turn to the doctor, 
tense and fright- 
ened. " 




SCDEEMLAND 



Page Fifteen 



OF RICHES 

(Tom is (trace's husband.) Ilowiistairs, Lyon^ and Sttve part 
corapany, Steve (getting into a smart roadster. 

'P OM brings John to llendron, and llendrun, in a most kindly 
way, tells him that they are all si> pleased with him, that they 
have decided to give him a relatively substantial increase in salary, 
at the same time promoting him to a job of greatly increased re- 
sponsibility. John is over-joyed, telling llcndrcn that this is just 
what he needs to get married to the sweetest girl in th^ world. 
Hendron, now feeling very friendly and a bit patronizing to the 
boy, tells him that if he will only watch his step, there is no reason 
why he should not verj- quickly rise to the top of the ladder of 
success. lie tells him he must be careful, however; thai people 
must maintain a certain appearance; that the impression of success 
is necessary if one is to be successful. He says: "Spend your money 
to make people think you are a success, and you will be a success." 
He expounds to him the great American gr.spel of "getting on," 
which means not only working hard, but putting on "a front." 
These words, said in greatest kindness, have their immediate effect 
on the boy; the impression made, he promises to digest and remem- 
ber them, especially as Hendron points out to him various insfances 
of people who are respectively successful and failures because they 
have or have not followed this course of action. 

JOHN thanks Hendron for the advice. The whistle blows; the 
day (Saturday) is over, and John leaves with Tom, his closest 
friend, bubbling over with enthusiasm and joy as he tells him what 
has happened. 

AT the countr>' club we see Lyons arrive in his car; he is imme- 
diately greeted by Mrs. Stanton, a widow, of about thirty-five. 
It is evident that he is very fond of her, in a quiet and dignified 
way, and that she responds to this affection. As the\' make their 
way to a secluded table, they are followed by the admiring and 
approving eyes of the other guests of the club. We feel here that 
these people are to be married, and that it is the ideal marriage of 
their set. 

O TEVE arrives at Katherine's home, just as <irace is leaving. 
Katherine is taking her to the gate. Steve plays for a moment 
fondly with the baby, and then tells Katherine that he wants to talk 
with her privately. They go to the rear of the garden (the garden 
back of the house). There they sit, and, in a very charming and 
lovable way, Steve staits to tell Katherine how fond he is of her. 
A T a nearby comer, we see Tom and John dropping off the street 
^^ car, or, they can be coming along the street and, at a certain 
corner, go off in two different directions. We see Tom arriving 
home, he kisses (trace and the baby. A moment later John arrives 
outside Katherine's house. The mother is on a chair at the front 
porch, and tells John that Katherine is in the garden in back. John, 
bubbling over with the good news, rushes off to find her. 
C TEVE, entirely unconscious of the fact that Katherine is already 
^ engaged, asks her to marry him, not noting the embarrassment 
she feels. But now, without taking her hand from his, she tells him, 
very gently, that she is already engaged, and to whom. It is this 
scene that John interrupts when he dashes into the garden. There 
is the obvious momentary embarrassment on the part of Steve and 
Katherine; Steve makes hurried excuses and apologies, and goes 
quickly out of the garden. John has seen just enough to make him 
jealous, and boyishly he pouts. Katherine can see no reason for 
this; she is more mature than he in many ways, and quickly laughs 
him out of his momentary distemper. Then, bursting with pride, 
he tells her the great news of his promotion and the increased salary, 
and tells her that now they can be married within a month. She is 
infinitely happy at this. He urges that they tell the guests, and 
Katherine is perfectly willing. They rush inside, and surrounded 
by their friends, John tells the great news. They are showered 



An Original Screen Story 
of American Life 
By LEROY SCOTT . 

ILLUSTRATED by ALBERT HURTER 



This IS a story of the most fundamental thtng in life, 
the perpetuation of the human race — and of the 
noblest of all instinctive desires, that of motherhood; 
and a story of what is ha^ening every day when these 
fundamental things come in conflict urith another great 
human desire, the ambition to get on tn the world. 



:|: 



with ccngratulations, jokes, c'c. I'o escape the g<x>d-natured fonler>'. 
Katherine escapes from the house. John follows her. They make 
(heir way to the arbor. They kiss long and endearingly, and then 
sit down, he still embracing her. In their dreamy happiness, she 
absent-mindedly picks a flower, and gently breaks it, somehow as 
her mother did in the prologue. And we see in her face and eyes 
her great love and hunger for little ones, for her own flesh and bUmd. 
and how much they will mean to her. He notices this in her and 
tells her that he wants children, — that he loves them. But for the 
first year or so, they had l>etter wait. Let him get established first. 
So that when their children cx-.mc, they will be able to give them 
Don't you see, dear? But Katherine cannot see. .\nd then John 
dives into his memory bag, and he repeats what Hendron had told 
him just an hour before. .\nd he pleads his case so earnestly, and 
Katherine loves him so much, and desires him to be successful and 
happy, that though she has bitter misgivings, she agrees with a 
smile, with all that John has said. Seeing the little tear in her eye, 
John kisses it away, and she is happy, expectant and youthful again. 





Page Sixteen 



SCREEMLAND 



n^WO years have passed since the last episode. Meantime things 
■*■ have been going fairly well for John and Katherine. His 
salary has been increased a number of times, his circle of business 
acquaintances has widened, and his position is one of considerably 
more importance in the affairs of the company. Katherine, in the 
meantime, has done wonders in making the house beautiful, in rep- 
resenting him socially. She is enormously clever at things around 
the house, and has the keen intelligence and charming personality 
which make her worth-while , in the social set ia which they are 
aspiring. They are living in a rather pre- 
tentious house in a very good neighborhood. 
T T is about four-thirty in the afternoon a 
■*• few months later. We see Katherine in her 
home, making the final arrangements for din- 
ner that night. She loves this kind of thing, 
and is sparkling and radiant. She has both a 
cook and a maid for this occasion, and she is 
helping the maid to set the table, occasionally 
rushing out to the kitchen to supervise things 
there. Grace, although she has two children 
now, is helping Katherine. Katherine is en- 
joying herself playing with the children. Her 
repressed maternal instinct finds its outlet in 
fondling these children of another woman, who 
responds to her fully and lovingly. The two 
women speak about children, Grace expressing 
her surprise that Katherine has no children. 
Katherine says she is only waiting for John's 
success and advancement. But Grace tells her 
that the children mean more than any success. 
Besides, when they grow up, she will be still 
young; they will all be young together. Kath- 
erine, deeply moved, agrees to this, but says 
that the happiness is only being denied her for 
a short time. Then Grace leaves to go home^ 
since she is to be a guest that evening, 

JOHN arrives in his new car. This might 
be the occasion for making a present of it 
to her. In that case, he would call her out 
of the house, she wearing a bright, clean all- 
over apron to protect her dress. She would 
come out and be delighted and enthusiastic 
over the present, though there might be a 
momentary shade, only indicated and by no 
means stressed, of regret that so much money 
should go for an inanimate object. Here the 
nearness of an expected, very important pro- 
motion is first spoken of, and John expresses 
his intense desire to get that new job. 
'T'HE dinner to be given that night is in honor 
■"• of the visit to River City of Mr. Phillips, 
who is President of the company and father 
of Steve. He is to be guest of honor. He has 
come from New York for a few days only. 
In the house John tells Katherine, in great ex- 
citement, that the real purpose of Mr. Phillips' 
visit to town is the necessity for appointing a new assistant mana- 
ger. He stresses the necessity for making as good an impression as 
possible, since the job is hanging midway between Tom and him- 
self, and he thinks it a great stroke of genius to give this dinner 
for the sake of appearing before Phillips in the best light. Katherine 
lovingly and lovably agrees, and they go upstairs to dress for dinner. 
Vr OVV we go to Tom's house. They still have the same house, 
but have been able to buy new things. They, too, are dressing 
for dinner, but with them it is a complicated process. First, there are 
the children constantly interfering, in a very charming, childish way. 
Then, Tom has to press his own trousers, that they may look well 
that evening. Grace is putting some new lace on her evening dress, 
or perhaps fixing a new scarf, or a new belt of sotne kind. They 
are all, however, deriving a maximum of fun out of these happen- 
ings. There is a young girl at the house, perhaps sixteen or seven- 
teen, or even younger, who is going to take care of the children while 
the parents are at the party. Tom also speaks of his chances of get- 
ting that coveted job, but much as he wants it to give his family in- 
' creased comforts, and to take some of the work from Grace's hands, 
we realize that he has not the definite and immediate hope for it 
which possesses John. 

A T John's house. The guests are beginning to arrive. Among the 
■'*■ first are Steve and his father, Mr. Phillips. Katherine com- 
pletely charms Mr. Phillips by her graciousness, her beauty, etc. Then 
John takes him aside, perhaps for a couple of (secret) drinks. _ CThis 
always appeals humorously to an American audience.) This gives 
Steve a chance for a little scene with Katherine, in which he 
tells her how lovely she looks. She is smiling and happy with him. 
He gets over a touch of wistfulness in realization of what he has lost; 



Sir Oliver Lodge 

World-famed autKority on 
psychic phenomena, says — 

The mental and physical 
are so interwoven, the possi- 
bilities of clairvoyance are so 
unexplored, that I do not feel 
constrained to abandon the 
traditional idea that the com- 
ing or going of a great per- 
sonality may be heralded and 
accompanied by strange oc- 
currences in the region of 
physical force. The mind of 
man is competent to enchain 
and enthrall the forces of na- 
ture, and to produce strange 
and weird effects that would 
not otherwise have occurred. 
Shall the power be limited to 
his conscious intelligence? 
May it not also be within 
the power of the subconscious 
intelligence, at moments of 
ecstasy, or at epochs of strong 
emotion or of transition? 



Read the amazing story of 
Virginia Ra^e s re-a^j^ear- 

ancc. 
In this issue — on ^age 20 



but this is beautifully charming, perhaps a bit pathetic. There is in 
itno idea of villainy or of a nasty sex desire. He likes her — even 
still loves her — but is too much of a gentleman to remind her that . 
once upon a time he proposed to her. 

»TpHE other guests arrive, Mr. Lyons and the new Mrs. Lyons, both 
■*• rather resplendent, the lady by far the best dressed woman pres- 
ent; there must also be Hendron and his wife, the latter a very large, 
child-bearing creature, who has had comparatively little time'for de- 
velopment of the social graces, being too busy. Then, too, there are 
Grace and Tom. They are both rather shy; 
Tom lacks the snap and assurance of John, his 
clothes don't fit so well, and he is obviously a 
bit scared at being in the presence of the "boss." 
Grace is (juite self-assured; that is, although she 
put up her hair itself, so that it is rather loose 
and stringy; though her dress is just a com- 
promise between a dinner dress and an evening 
dress, she has so much the assurance of a bigger 
accomplishment than social frivolity, that she is 
serene and satisfied. There is about her no 
pretence of any kind whatever. It is important 
that in this episode we see in Katherine, the 
highest type of socially developed, manicured, 
marcelled and polished female of the middle 
class, who is also helpful in the highest degree 
to her husband. (There will probably have to 
be a couple o{ otherwise unattached ladies at 
this dinner, since, it being a formal affair, there 
are two men without ladies — Steve and Phil- 
lips.) 

'T'HE various guests being assembled, the din- 
ner starts. Here we establish a pleasant, 
happy atmosphere incident to a well-cooked, 
well-served dinner, with much laughter, etc. 
There should be some business, also, to get over 
the entirely different impression made on old ' 
man Phillips by Katherine, on one hand, and 
Grace, on the other. (Of course, Katherine is 
his dinner partner.) Break with the following 
sequence at Tom's house. 

'T'HE children are in bed. It is night. One of 
them sits up and cries for its mamma; the 
other one awakens, and, being disturbed in its 
sleep, and to keep the first child company, also 
starts crying lustily. The little girl downstairs, 
half asleep over a magazine, runs up to find 
what is wrong. She turns on the light. The 
child has an attack of some kid fever. The cry- 
ing and general^ appearance of the child fright- 
ens the young girl ; she is very ignorant in such 
matters, being a child herself; she does not 
know what to do; perhaps she runs next door, 
tells a neighbor to take care of the children, and 
then runs on to John's house, to find Grace and 
tell her. There might be a telephone — the child 
looks for the number of the Colbys' — is panicky 
and can't find it, and runs to get Grace. 
TN some room other than the dining room the dinner guests are hav- 
ing their coffee. We see Phillips sitting in a corner, with John at 
one side of him and Tom on the other. The old man is trying out the 
relative knowledge of the two men ; he fires questions with machine- 
gun-like rapidity, first at one, and then at the other. They are both 
answering pretty rapidly, and also pretty accurately. In their 
knowledge of business, there is perhaps little to choose from, although 
John's entire air is one of infinitely greater assurance than that of 
Tom. 

\X7 HILE this scene is in progress, the young girl from Tom's house 
arrives. The maid being busy, Katherine opens the door for 
her; the girl asks for Grace, and Grace comes quickly on. Hurried, 
nervous and frightened, the girl tells her what is wrong. Grace is 
terribly worried, but she keeps her poise. She gets her wraps. She 
sees at a glance what Tom is doing, and tells Katherine not to bother 
him, but to let him stay. But Tom feels something in the atmosphere. 
He starts up and notices that Grace has on her things. Quickly he 
joins her and learns that everything is not well at home. His father- 
heart torn with emotion, he begs Katherine to excuse him. By this 
time the other guests have notice'd the commotion in the hallway, and 
there is a moment of dignified excitement Tom does not bother 
even to say goodbye to Phillips; he has no time for that, Katherine 
offers to go with them, and even starts to get a cloak, when John, 
noticing this, excuses himself to Phillips, and joining her in the hall- 
way, just a bit sternly tells her that no matter how much she sym- 
pathizes with the Donaldsons in their trouble, she has her guests to 
consider, and, also, she must not forget that they have still to win 



SCftEEMLAND 



Page Seventeen 



Phillips; that he has not been caught yet. Then he leaves her to 
continue paying respects to Phillips. Kalherine is hurt and a bit 
shocked at his apparent callousness and brusqueness, but overcomes 
this 'quickly and goes back into the drawing room. She joins her hus- 
band and Phillips; the men rise to speak to her; she is most gracious 
to Phillips; then she passes on to some other guests, and as the two 
men sit again, Phillips remarks to John that he considers him a suc- 
cess, but that he considers Katherine responsible for at least half of 
the success he is attaining. 
^OW we go to Tom's house. (Irace arrives first, breathless, with 

the young girl and rushes to the children. She quickly sends the 
baby (not affected) downstairs to another room, and then does what 
she can to relieve the sick child. A moment later the doctor arrives 
with Tom, probably in a little Ford. They, too, rush upstairs. The 
doctor's diagnosis is that the child is in a very serious condition, has 
fever, etc. CJrace and Tom are frightened to death, but Tom, nnan- 
like, shows it more than Grace, who, 
with the supreme sacrifice of 
motherhood, controls the emotions 
which are threatening to choke and 
overcome her, that she may be of 
service to her child. Notwithstand- 
ing her blinding tears, she moves 
quickly and unhesitatingly about the 
room, doing the dozen little things 
the doctor demands, holding the 
child, etc., etc. The doctor finally 
puts down the child, and tells the 
parents to leave it alone. All lights 
except one are turned out; the doc- 
tor remains at the bed, but Toip and 
Grace he waves aside. Torn tender- 
ly takes Grace in his arms, trying 
to soothe and quiet her; but it is 
hard work. Suddenly they turn to 
the doctor, tense and frightened; he 
lifts his head from the child's breast, 
turns to them and says quietly: "It's 
all right; the danger is past." Cry- 
ing with tears of unrestrained hap- 
piness, Tom and Grace fall togethet 
at the bedside. The doctor wipes- 
his eyes and leaves the room. 
AT John's home. The party 

is over. Katherine is at 
the doorway bidding good- 
bye to the guests. She stands 
a moment longer until they 
have gpne down the walk, 
then starts back to the roomst 
as a million women have done 
a million times, to straighten up 
just a little before going to bed. 

JOHN accompanies Phillips 
to the car. The ladies are 
ahead, and Hendron is on John's 
other side. Just as Phillips is 
about to enter his car, he turns to 
John and tells him, with a few 
friendly words and a shake of the 
hand, that the vacant position of 
assistant manager at the factory 
will be his (John's) on the follow- 
ing Monday. John tries to thank 
him, but his joy and exultancy are 
such that this is a difficult pro- 
cedure. Phillips slaps him on the 
back and enters his car, which 
drives off. Hendron is still wait- 
ing for his own car; he has seen 
what has just happened, he is, if 
anything, just as pleased as John, 
and as he congratulates him, he 
cannot forget the little, "I told 
you so, didn't I?" Then he adds ^^^^^^^ 

something about John's wisdom ^^^^^^^ '" having 
followed his advance. And he f^ gives him a tip. 

Bigger things are brewing — he must watch his 

step, and continue doing what he has done in the past, and pro- 
motion will follow promotion. Then John rushes back into the home. 
TJ ERE he finds Katherine straightening up things. Like a boy 
he rushes to her, kisses her, hugs her, dances around with her, 
exclaiming, "We've got it; I'm assistant manager; we're getting right 
to the top. And I have you to thank for it, as much as myself; Mr. 



TRAIL BLAZING IN LITERATURE 

How is tlie skilled dramatic conception 
of a gfreat writer conveyed to the living 
characters of the screen? Millions of 
picturegoers have wondered at this ques- 
tion. SCREENLAND has secured Leroy 
Scott's own answer by presenting the 
complete original "morie^^ manuscript of 
the author, containing his own interpola- 
tions w^hich make it of vastly greater in- 
terest than any polished work of fiction. 
Such stories, as "The Counsel for the 
Defense", "Partners of the Night", "The 

Shears of Des- 
tiny", "No. 13 
Washington 
Square" and 
"Mary Regan 
have placed Le- 
roy Scott in the 
foremost ranks 
of An\erican fic- 
tionists. But 
none, SCREEN- 
LAND feels, are 
greater stories 
than this power- 
ful social diagno- 
sis now being 
filmed by Gold- 




Phillips said so." Katherine is as happy as he; but soon her first 
enjoyment receives a bigger note as she remembers how much else 
it means; the sacred meaning of the success comes to her and she 
joyously breathes to him that at last they are free to realize their 
dream of having children. John starts at this; his manner fright- 
ens her; she questions its cause, nervously apprehensive and fearful 
of his answer. And finally he tells her that, in addition to his pro- 
motion, he has had the hint that Lyons will retire in a year or two, 
and that it has been hinted he might step in, if he can continue 
presenting the face to the %vorld of a man big enough to fill such a 
position, and if he is in a position to take Over at least a part of the 
stock now being held by Lyons. To consummate this final step 
they must put off all other considerations for a little while longer. 
Katherine is ready to break at this new blow to her hopes. She 
starts to cry; he tries to pacify her, but she starts to be angry now, 
and does not hesitate to tell him. But John is ever tender and plead- 
ing, the gentle lover she has known. 
And her love is so great that she 
can forgive even now the denial of 
her great right. She puts her arms 
about his neck, and kisses him, even 
though her tears are blinding her. 
1 T is perhaps two years later. We 
find Katherine, prosperous, 
glowing, although a bit older; she 
is not quite so buoyant, the repres- 
sion of her maternal instinct hav- 
ing its slight, but noticeable effect 
in a certain very faint melancholia. 
But we see her at the conclusion of 
a meeting of society women, dis- 
cussing plans for some charity af- 
fair. It is at a magnificent man- 
sion (Mrs. Lyons') and we see 
Katherine, in the surroundings 
which proclaim the enormous social 
success she has become ; Mrs. Ly- 
ons, social leader, is presiding over 
a meeting of a dozen women; everj'- 
one is opposed to something that 
Mrs. Lyons is proposing, when 
Katherine gets up, and presents the 
case in such a way that everyone 
changes sides, amid applause fof 
Katherine. Katherine is glowingly 
happy at this triumph, for'which 
she is gratefully thanked by Mrs. 
Lyons. Then the gathering breaks 
up, and Katherine leaves. 



'1p5 



^OW we go to John at his of- 
fice. He is now in his new 
position, and as he walks through 
the outer office, we get something 
of the new man who has been born, 
forceful, dominant, the complete 
executive. But he is a bit hard and 
harsh ; his commands have a sharp- 
ness to them that is unnecessary. 
He has become a driver of other 
men, just as he relentlessly drives 
himself. As he crosses to his own 
door Tom, sitting at one of the 
desks, rises to speak to him. We 
see immediately that Tom has not 
gone up much in the world. His 
' ' manner has not nearly the assurance of John. He stops 
John just at the latter's office door, with some request or 
other. We bring the camera close enough to get over 
dramatically the essential difference between the two, and ac- 
centuate in John's sharp reply the fact that one is now boss, and 
the other the subordinate. Tom, who is by no means cringing or 
subservient, resents bitterly John's attitude, and is about to reply in 
kind, then merely shrugs his shoulders, as if to say, "What's the 
use?" and goes back to his desk. 

JOHN enters his room. Steve is waiting. The two men nod to 
each other. There is an air of equality between them now. John 
sits sharply at his desk. Steve asks a question about something or 
other, pointing to a typewritten report he has brought in. John 
takes it and says: "I'll go over this tonight; feel like working." 
Steve nods absent-mindedly; it doesn't make much difference to 
him one way or the other. Then John remembers that he is not 
going home. He picks up the telephone and calls his home; the 
maid answers; he learns that Katherine is not yet at home, and 
tells the maid to inform her that he will not be home for dinner. 
He hangs up and buries himself in work. 

(Continued on page fifty-six) 



Page Btfihteen 



SCREEMLANO 



CKarles Meredith 
and Florence 
VIdor. 



7; Sb«-J2-^ fi-J^t 



i;.*r- 



fcC^. luJra^ ^.wiL,^ (Ori-^oXt:. .<3 



"i**^ {V> a.i. <Afi' 









{«««' 



.--^ 



An exceptionally brilliant and powerful cast 
IS headed oy Florence Vidor m an expressive 
leadmc' part, \luriel Frances Dana is the 
child. 



i >^^ 



Madge Bel- 
lamy carries 
the pathos of 
weak human- 
ity to the 
city's depart- 
ment stores, 
tenements and 
, hall bedrooms. 



lN- 



C. Gardner Sullivan has written an epic of the harsh, New- 
England hills and of their people; the farm house built four- 
square to the wind and the simple greatness of a chosen few. 
Left to right: Tully Marshall, Madge Bellamy, Theodore Rob- 
erts and Lloyd Hughes. 



5CftEE{4LAMD 



Page Nineteen 



' u/^w/ Ti^ Kr^r\i tint- i-r 



by Dorothy Devore ' HOW ID ACQUIfJE IT 

Christie Comedy Star 

THE novelty of a physical culture stunt helps make it 
popular. Perhaps sweeping or dvistmg the top of a 
piano is just as good exercise as many bends, twists 
and dips, but it isn't nearly the fun for most girls. 

Nevertheless, systematic exercise should be a regular part 
of each day's routine for girls who are occupied indoors — 
(and men, too.) A few minutes, night or morning, indulged 
in exercise, is time well invested. 

The accompanying poses show a few of my favorite muscle 
stretchers. I think they are particularly well worth remem' 
bering because they can be done anywhere, anytime, with 
out the aid of an elaborate gymnasiunt equipment. 



The push-up exer- 
cise. You can do 
this yourself, thrust- 
ing the strength of 
one arm against the 
other. An exercise 
designed for the 
muscles of the arm, 
shoulders and b-.ist. 





Try this on your hubby or 
brother. One pulls up while 
the the other pulls do>vn. 
It is splendid drill for de- 
veloping the muscles of 
the chest and under arms. 



Raise one leg at a time until the knee 
is bent as far as possible, leaving the 
foot flat on the floor. Raise the hands 
as shown so they cannot aid the back 
by pressing on the floor. This strength- 
ens the abdomen. 

Photos hy C, E. Day 




Paye Twenty 




DO the dead return? From the Beyond can a soul 
perceive the frailties of human justice? Is psychic 
phenomena, close fettered by mortal skepticism, 
truly an expression from departed spirits or is it a hallu- 
cination of the corporeal mind? In the long annals of 
psychic investigation, no demonstration ever aroused more 
solemn consideration than this agonized cry, flung from 
a wraith that confronted an amazed audience: 

"Roscoe Arbuckle is not guilty and I want justice done." 



SatEEMLAND 

J5 VIRGINIA 

The Most Amazing Message Ever Published 

ety- where she appeared. We say psychic instead of medium 
as there is a difference. Some claim to be mediums only 
to defraud the public, while psychical research and the 
word "psychic" ' have not that reputation. Mrs. Tomson 
is too well known here and abroad by many noted scien- 
tists for us to have any doubt as to her work being genu- 
ine. We know it was Virginia Rappc, as she was rec- 
ognized. She said Arbuckle was not guilty and wished 
that justice be done. She wanted the public to know' it, 
she said. 

If you can use her statement or if we can be of any 
assistance just let mc know as I would be only too glad 
to help Arbuckle. Please let me have an early reply. 
Yours truly, 

(Signed) Roy Jefferson, 
Secretary, International Psychical Research Society, 
State and Randolph Streets, Chicago, III. 

In response to a rain of telegrams, the following wire 
was received by SCREENLAND a few days later, bear- 
ing the name of Halma Tomson, daughter of the psychic 
and her secretary: 

"Roy Jefferson's letter true and approved by Dr. Roweli, 
president of the International Psychical Research Society. 
It was at a regular meeting of the society on October 
second before about four hundred and fifty people that the 
i surprise took place. Elizabeth Allen Tomson, the psychic, 
^^lovcd all her clothing to her nude body before a com- 
i^Stee of six lady investigators to show them sh^ had 
nothing by which to practice fraud. They were all sure 
of this before she was placed in an enclosure which was 
examined and built by six gentlemen investigators. 

"Shortly after the meeting had started and during a vio- 
" '**iBi'iWlo V'-^^-— "" Rappe appeared as in a beautiful cloud. 
She gradually became a materialized form and was rec- 
ognized by many. We were all astonished .is she had 
not even been spoken of by anyone present. She was vis- 
ible to all and said in a voice loud enough to be heard by 



The following letter, addressed to Myron Zobel, Editor 
of SCREENLAND, contains the first intimation of this 
striking case, the facts of which are here presented for the 
first time: 

Dear Sir: I feel it my duty to write direct to you after 
reading the November number of your wonderful maga- 
zine SCREENLAND and the article written by Gouver- 
neur Morris about the Arbuckle case. 

There are people and also some representatives of the 
law who are satisfied if they can prove a person guilty, 
it doesn't matter if they are guilty or not, just as long as 
they feel they have performed their duty and it appears 
that way in the eyes of the public. 

I have been told this by Virginia Rappe herself. She 
has returned in a materialized form before a large audi- 
ence. Mrs. Elizabeth Allen Tomson was the psychic in 
the meeting of the International Psychical Research Soci- 



many: 

" 'Roscoe Arbuckle is not giu'lty and I want justice 
done.' 

"She called a well known press woman to her and said: 
'As a press woman you can help me and I want you to 
give this to the press so the world will know he is inno- 
cent.' 

"She seemed very deeply grieved as she said she wanted 
to help him out of the trouble that she had been the inno- 
cent cause of through her carelessness. She said she wanted 
all that could to help her by seeing justice was done. That 
is why Roy Jefferson wrote direct to you. 

"He says he thought her wishes were being neglected or 
held back for future use. My mother is in a state of 
coma inside the enclosure during these experiments and does 
not realize what transpires. But I act as her secretary 
and was present when she heard the story. She was more 
surprised, if possible, than the spectators. 

"Tomson, Secretary." 

In order to secure additional verification and if possible 
more interesting facts in relation to the Rappe appearance, 
SCREENLAND detailed the W. J. Burns Detective 
Agency to this extraordinary case. Mr. G. P. Pross, man- 
ager of the Los Angeles branch, wired Chicago to put 
their most skilled men on the work. The operative at- 



SCREENLAND 



Page Twenty-one 



R^PE stni ALIVE. ? 



tended a meeting of the society. Below is his telegraphed 
report : 

"Attended meeting which opened at seven ilnrty p. m. 
Short program of music and reading and lecture by Dr. 
Tonison. husband of Elizabeth Allen Tomson, on the sub- 
ject: 'There Is No Death.' The meeting was presided 
over by Dr. L. W. Rouell, president of the local Inter- 
national. 

"Mrs. Elizabeth Allen Tomson then entered a cabinet 
on the platform and gave a seance producing white robed 
spirits in material form. I was among six volunteer men 
from the audience who inspected the cabinet before the 
Tomson woman entered it. 

"After the lights were turned out I w.is twice led up 
on the platform to gaze into the f.ice of a white robed 
figure who emerged from the cabinet but who did not 
speak to me. I was asked by a man on the platform if 
I recognized the face as that of Virginia Rappe whom he 
said had appearetl some three weeks ago and <leclared that 
Fatty Arbucklc was not guilty of causing her death. 

"I was requested to sign my name as one of the com- 
mittee inspecting the cabinet used. At no other time was 
Virginia Rappe's name or Arbuckle's name mentioned. 
After the meeting I endeavored to sec Elizabeth Allen 
Tomson, the psychic, but was informed by her daughter, 
Halnia, that her mother could not be seen tonight as she 
was in no condition after the seauce. Rut Halnia Tom- 
son and President Rowell told me of previous seance, say- 
ing white-robed figure with black curly hair hanging loose- 
ly down her b.ick appeared from the cabinet and walked 
to the edge of the platform and called to a Chicago news- 
paper woman, who occupied a front seat, and laying * 
great stress on her words said: ;> 

" 'I am Virginia Rappe and must say that Roscoe Ar- 
bucklc is absolutely innocent of causing my death.' Miss 
Rappe's vision then returned to the cabinet -and faded 
away. 

"Miss Tomson, Dr. Rowell and others said they rec- 
ognized the vision as Miss Rappe. The audience of this 
occasion ninnbcred about two hvmdred and fifty. 

"While talking with Dr. Rowell who substantiated Hal- 
ma Tomson's stor\', she came over and told the doctor 
to remember 'some things are personal' and to be careful 
what he said. 

"About 150 attended the meeting tonight. Miss Tom- 
son .seemingly anxious publicity be given the visionary ap- 
pearance of Virginia Rappe and also her utterances. I did 
not mention SCREENI^AND in my conversation. The 
meeting closed at ten twenty five p. m," 

Added details concerning the Rappe appearance were 
supplied in a second telegram from Miss Tomson. It 
follows: 

"Will respect your wishes. Rappe has not appeared 
since. She had made no other statement but we are hop- 
ing to sec her at every meeting. 

"She came from the curtains in a bright blue light, 
wearing beautiful pure, white flowing robes. She had 
wonderful dark brown eyes and hair which hung over her 
shouhlers and apjicared to have a dark skin. The enclos- 
ure in which my mother is placed is made of two sides 



and a top of one thickness of half inch wood securely 
fastened together and absolutely void of any traps or trick- 
ery. It is six feet high, about four and a half feet deep 
and four feet wide. The front is closed with one thick- 
ness of gray French velour drapery in which nothing could 
be concealed, with an opening in the center where the 
apparitions appear. 

"Following are the names and addresses of eye and ear 
witnesses who formed the committee: Mrs. J. K. Moore- 
head, 632 Maryland Street, Gary, Indiana ; Mrs. R. War- 
ner, 4051 Michigan Avenue, Chicago; Mrs. Jane Brooks, 
Morrison Hotel, Room 1244. Chicago; Mrs. Mary Gal- 
lagher, 5237 Harper Avenue, Chicago; Mrs. Edna Bacon 
Blackwell, Oklahoma; Alex A. Norton, 109 North Dear- 
born Street, Chicago; Patrick Leahy, Night Superintend- 
ent of Masonic Temple; Professor Irving Hamlin Evans- 
ton, Northwestern University, Evanston, 111.; Geo. Perl- 
man, 1537 North Robey Street; Dr. Lawrence H. Row- 
ell, Western Springs, 111.; J. G. Kliss, 200 North JeflFcr- 
son Street, Chicago. Miss Tomson." 

A short message affirming the previous ones came from 
Dr. Rowell president of the society. It reads: 

"The circumstances and statement of Rappe appearance 
as sent to you by our secretary, Roy Jefferson, are cor- 
rect in every detail. I can add nothing more to the re- 
port. L.AWRENCE H. Rowell, M.D." 

©Screenland Publishing Co. 




@Edwin Bower Hesser. 



Page Twenty-two 



5CBEEMLAND 




MARION DA VIES 

Wken Frank R. Adams wrote 'Manhandling Ethel, 
little dia he believe that the novel would brin^ to 
the brow of this regfal younjf lady a (flittering diadcnt 
of pearls. Had he foreseen it — and her — he would 
have known why the screen version is named Enchant- 
ment, Photo hji Alfred Cheney Johnston 



SCBEEMLAND 



Page Twenty-three 




A BIT O' SCOTCH 

The TKrums district of Scotland, a few miles 
from Dundee, already made picture-famous in 
Sentimental Tommy, is the setting for The Little 
Minister, another Barrie play just filmed. Betty 
Compson is the star and Penrhyn Stanlaws (a 
Scotchman himself, by the way) is director. 

Mr. Stanlaws, being an artist, will doubtlessly 
contrive to have ■ genuine thistle bloom drifting 
across the camera lens by the time it is finished 
for showing in your theatre. 



Page Twentyfour 



SCREEMLAND 



- ■ 1% 



IjITTLE 1 



y 



^- 



FOREVER— Paramount 
A new, wistfully appealing Wal- 
lie Rei<], whom you like one minute 
and don't the next. John Barry- 
more's Peter Ibbetson, from the du 
Maurier novel, is superior to the 
Reid characterization perhaps, hut 
as the lovable, dreamful Peter, you 
vt'ill be surprised at the depth of 
the ''speed'* star, who all of us 
have associated with lighter ve- 
hicles. 

Elsie Ferguson is a delightful 
Mimsi: and the play — the pictur- 
ized version of this Broadway sen- 
sation — is technically exquisite. 



DOUBLING FOR ROMEO— 
Goldwyn 
Will Rogers in tights! Now it is 
easy to see yvhy he stayed five years 
in the Follies. Don't laugh at his legs, 
though. They need encouragement. 
The story is as thin as nickel-plating, 
but sparkling subtitles, a laugh in 
every one, makes you forget even if 
you left home with the cat locked in. 
Is it necessary to add that this is 
Rogers' own satire of Shakespeare? 



'--■ -». 



/j/i-^ 



A TRIP TO PARADISE— Metro 
They say New Yorkers who have seen the Theatre Guild play 
LilJiom will not care for this, its picture version. But there are many 
without prejudice for its early life. It is as good as a sight-seeing 
excursion to Coney Island, even if you do not care for Bert Lytell 
and his perfect profile — which, of course, you probably do, anyway. 
Save shoe leather and see Coney Island in A Tri^ to Paradise, 



rR;i 



O. 



A 






Vim . ii 



l^^'i 



'.S!MWwi\.i.t»i& 



>- 



^*f-* 



rl 



THE MASKED AVENGER 
Western Pictures 

Nothing to set the world afire, yet better 
than most modern tales of the poor, old, 
storied-to-death West. Red-blooded rib- 
bon clerks of Muskegon and Plainsville 
will get many kicks from it. And small 
boys will watch it ■wide-eyed. 

Of course, everyone ■will be interested 
in this return of Dorothy Davenport (Mrs. 
Wallace Reid) to the screen, opposite Les- 
ter Cuneo, the Western hero star, whom 
you must try to forgive for riding the ■wave 
of the renaissance of Western melodrama. 



SCREENLAftD 



Page Twenty-five 



[^ PliAY- 




DANGEROUS CURVE AHEAD— Goldwyn 

Maybe, if married people -would take themselves as 
amusedly as Rupert Hughes sees them, there would be 
fewer divorces. Also more entertainment m the hon\e. 
This is an intimate expose of the great gamble. 

If playing with Richard Dix has an animating effect 
on Helene Chadwick, by all means let Mr. Gold>vyn 
continue to team them. She is positively brilliant in 
this little drama of married life as it reallv is. 





THE PRlSfCESS OF NEW YORK— 

British Paramount 

A New York heiress goes to Paris and wishes 
she d stayed at home. So will you when you see 
David Powell and Mary Glynne affected by the fog. 

Old Lunnon may be looking up pictorially, but it 
will be a blooming long time before British produc- 
tions can compare with American ones — eh, what? 




NO WOMAN KNOWS— Universal 
A refreshingly sincere chapter out of the small town lives 

of a Jewish family. Director Tod Browning should be 

decorated for not Fanny Hurst-mg this Edna Ferber story 

ot Fanny Herself. 

Mabel Julienne Scott as Fanny certainly is an admirable 

interpreter of Edna Ferber's intimate human studies. 
Universal has produced many good pictures lately. 



THE SHEIK — Paramount 
A Sheikas clean-shaven jaw! It is the first time 
in motion picture history that an Arabian gentle- 
man without a mattress on his face has reached 
the screen. For this we are indebted to Rudolfo 
Valentino. 

The Skeik, is actually worth all its ballyhooing. 
It has everything that a money-maker should have 
to be intriguing. An Arabian princfi-with an intox- 
icating harem, the exotic mysticism of the desert 
and a picturesque marriage fair with all the damsels 
looking as if they enjoyed being auctioned off; ail 
this besides Agnes Ayres, splendidly dramatic. 
Monte M. Katterjohn, who adapted the novel, made 
its torrid passages censor-proof. 



(More reviews of the month's hest productions on Page 44.) 



Page Twenty-six 



SCREEMLAND 




Don't lose any por- 
tion of your beauty 
naps trying to look 
like tke pictures oi 
the stars on the 
magazine covers. 
£ver since tke first 
movie magfazine 
was pubiiskea tke 
stars tkemselves 
kave been trying 
to do tkis. 




Advice for the Screenlom 

Epigrams & Diagrams 

By EVERETT WYNN 

SCREENLAND, never backward about coming for- 
ward, and koping to remain so, presents kerewitk 
its own exclusive correspondence course in fitting 
yourself for tke screen. • If you desire personal 
advice and criticism write your favorite name and 
address on a souvenir postcard, attack a Patagonian 
two-mark stamp, address to SCREENLAND Corre- 
spondence Course Editor and take to any postoffice 
and see if tkey'll take it. 





The finest intensive training 
for tke ups and downs of tke 
life of a persecuted senal 
heroine — Give hubby's single 
remaining copy of pre-war 
Scotch to tke janitor and con- 
tribute your allowance to tke 
Blue Law Society. Wken you 
tell kubby wkat you've done 
ke'U spare no pains giving 
you tke experience necessary 
for a career m serials. 



For tkose craving a 
career in batking girl 
comedies. By adding a 
bit of material to a ball- 
gown you will kave an 
acceptable batking suit. 
Catch tke cool wken 
$\xes baking custard 
pies and attempt to dts- 
ckarge ker. 



v.- y irfu 



For ike mere male person tkere is nothing better 
tkan an attempt to purckase a Ckristmas pres- 
ent for tke missus in a department store filled 
witk lady koliday skoppers. Try it, you may 
kave tke latent staying pow^ers of a Fairbanks 
or a Famum. 




An exceUent idea of how to go about playing a 
part in classical negligee plays such as '"The 
Queen of Sheba" may be gained from an exhaus- 
tive study of the nude head of an American hus- 
band. Your own husband will do.' 



SCREENLAND 



Page Twenty-seven 



r^ Cyi)/iy you /fA^/uVn 

liichardDarthQfmess under ^w/licroscmeJ^Chamc^r^naf^sis 

THERE'S a reason for the popularity of picture stars, aside from their handsome appeal. The 
photoplay camera records more than just the face and form, gestures and mannerisms; or the 
subtle acting tricks that sometimes win one's favor. 
Character and personality are the greatest assets for screen success and the celluloid drama soon 
reveals the fabric of these qualities. In other words, as a man is, so he photographs. 

A certain screen actor begins to win your favor, but if a-sked you could not tell ivhy you like him. 
His character and personality have reached out from the silver sheet and captured your admiration. 
Repetition, then, makes for popularity. 

There is "Dick" Barthelmess, the farmer boy of Clriffith's Way Doii-n Enst, and in your own words, 
perhaps, "a peach of a fellow'' — yes. a regular boy. 

Now, why do you like him, aside from the fact that he is a finished actor? It is bccniise of his 

character, that merits admira- 
tion. He is growing more pop- 
ular every day, it might also be 
added. 

In considering the features of 
Mr. Barthelmess, it should be 
remembered that no one indica- 
tion denotes his character. 

SCREENLAND'S author- 
ity on physiognomy has ana- 
lyzed the popular Richard 
and the captions beneath the 
accompanying photographs re- 
veal why you like him. 




His perceptive forehead 
denotes gfreat mental and 
physical energy. While 
quick to think, he is apt 
to jump to conclusions, 
lacking a balance of cau- 
tion and tact, due perhaps, 
to nis abundance of per- 
sonal magnetism and self- 
confidence. 





He has a well-balanced 
head, two-thirds of which are 
before the ear, measuring 
from the inner orifice of the 
ear to the outer prominence 
of the brow^, and one-third 
behind, measuring straight 
back from the opening in the 
ear. He belongs to the near- 
perfect mental physical type. 
His chin denotes an amorous, 
impulsive and passionate na- 
ture. 



His arched eyebrows depict a negative- rather than a positive nature; imaginative with a tendency 
to live in dreams and yet his brown eyes reflect a strong intellect. The eyes are almost perfect 
and indicate a keen sensibility, optiinisn\ temp ered with reason, enthusiasm and strong ment»l 
force. His nose is well formed and indicates t ensity and energy. His mouth and lip betray a 
trace of vanity, though characteristic of concen iration, ambition and genius. 



Page Twenttf-etght 



SCREEMLAND 



irs are 



One might think Hollywood 
was near the North Pole to see 
the furs the stars Mrear. But 
then modes are never aictatea - 
by utility, except in certain re- 
mote instances, such as the pop- 
ular African custom of -wearing 
a string of beads. 

I suppose most -women should 
be thankful that they do not 
have to wear these heavy, ex- 
pensive wraps. There is so 
much worry and responsibility 
attached. In the summer, they 
must be hung in cold storage 
and moth drives made on them 
regularly. In the winter, one 
must carry theft insurance. 
Yes, large furs are an a-wful 
bother. Still — 



A lustrous sealskin coat -with 
raccoon collar and cuffs is the 
favorite evening -wrap of Anita 
Stewart. 



This heavy cape of stole 
marten is Arctic-proof in 
texture and censure-proof in 
style. Note the quaint large 
collar effect. 



qi both er ^-fr' 



^ 



he stpirs 
dorit mind 



Advance styles in select 
winter millinery will be 
shown by the stars in 
next month's SCREEN- 
LAND. What star do you 
\«'ant to see in her latest 
hat? Just write me a 
note and Fll ask your 
favorite player to pose 
for next month's page. 

Address SCREENLAND 

Fashion Editor. 



u 



■i», 



This regal white ermine evening 
coat makes Betty Compson per- 
fectly adorable. I saw her wear 
it at the Opera. I dare not even 
venture an estimate of its cost. 

Cape, -where are you going 
with that little girl? It 
took a whole -woo^a full of 
squirrels to supply Viola 
Dana -with this rich gar- 
ment. 






v:««b£: 



' ^***1L- 



SCREEMLAMD 



Page Tvfentynine 



Mo tkeMCMD^ 




Consuela Flowerton as 
sKe appears in "Camille" 
with Alia Nazimova. 
She is another Ziegfeld 
beauty. 



Miss DuPont (Margaret Armstrong) 
one of von Stroheim's "Foolish 
Wives." Photo by Freulich 



One of the breath-taking 
scenes in "Man, Wom- 
an, Marriage" was en- 
acted by Derelys Perdue 
on the top of a banquet 
table, as you see her in 
this picture. 

Photo by Ko^ec 



Page Thirty 



SCREEMLAND 

Some Artistic Scenes fi-om'Villidin 
deMilles Screen Version of Ritd 
Veiwian's Stoni, "Zfte STAGE DOon" 




SCAEEMUIND 



Page Thirty-one 






■a**- 



William Wallace 
Reid, aged {our. 
Whatever daddy 
does is the correct 
thing, as you can 
see for yourself. 



i-*n 



■: » 



O luce upon el^ 
time the stars 

,fcltiutKtliat 
tineyvvere daddies 
•would hurt tiicir 
poptdariK) 



[es 



^:. 



W^ 



nt / 



CZJ 



dSr. 



Will Rogers is training his 
kiddies' literary tastes by 
reading to them his own 
book "Prohibition . Jimmy, 
Mary and Will Junior are 
the ones who seem to be 
interested. Teddy, lying on 
the floor, looks like he is 
taking a nap. 



One o{ the reasons why Conrad 
Nagel doesn't have to play golf; 
he gets enough walking at home 
at nights. Introducing Ruth 
Margaret Nagel. 



The Irish heart 
of Tom Moore 
is ow^ned, con- 
trolled and 
operated by 
his wee lassie, 
Alice Joyce 
Moore. 



When he isn't 
playing in pic- 
tures. Jack Holt 
plays papa to 
three happy 
youngsters, one 
of whom IS this 
thoughtful youth. 
Jack Holt Jr. 



.-a. 



Page Thirty-two 



SCftEENLAND 




MARY MILES MINTER 

She says tKat from now on sKe will play in "real woman" parts. "No more 
frivolous, hoity-toity, silly girl stories, if you please," the Realart star cle- 
manaed when she returned from abroad. Incidentally, this is her very 
latest photograph, made since her return. (Yes, this is a Paris frock.) 

Art portrait by DonaJJ Biddle Keyes. 



SCREENIAND 



Page Thirty-three 




MAY McAVOY 

"If Mary Pickford will' ever Kave a successor, it will 
be this little lady." says Frank O'Connor. And of course 
Mr. O'Connor should know. He directed the tiny, new 
star in The Ha-^{ty Ending, Everything For Sale and 
A Virgtma Courtship, 

Art portrait by Donald Biddle fCeyes. 



Page Thirty-four 



SCREENLAND 




HOLLYWOOD THE 



ELINOR GLYN 

Author, 

B or II — Ontario, Can- 
ada. 

Career — Her ptihlished 
works began to appear in 
1900. In 1907. Ihc book- 
that made her famous. 
"Three Weeks." appeared 
I» a magazine contrib- 
utor as well as a novel- 
ist. Wrote a .screen oriy. 
inal, "The C.reat Mo- 
ment," for Paramount 
and i.s preparing more 
screen stories. Oanir to 
Hnllyiuood 1921. Con- 
tributed to Scri'cntand 
.Ximnst issue. 



BYRON MORGAH 

Author. 
Born — Carthage. Mo., 
1889. 

C ar e c r — Noteworthy 
contributions to Saturday 
Kvcning Post — a series of 
motor racin.t; stories par- 
ticularly adapted to the 
screen. Now a Lasky 
scenarist. Came to Hol- 
lywood 1921. Contributed 
to Scrccnlaiui October 
i.ssuc. 




CHARLES WAKE- 
FIELD CADMAN 

American Composer. 

Born — Johnstown, Pa., 
1881. 

Career — Wrote "From 
the I.anil of the Sky 
Uhie Water." "Sha- 
iiewis," his first opera, 
ran for two se.isons at 
llic Metropolitan Ojiera, 
New ^'«rk City. liis 
choral compositions have 
macU- bi.ti famous with 
musicians- Came to Ilol- 
lyu'ood. Resident of l,os 
.Angeles. Contributed to 
Sercenland November is- 
sue. 



ROB WAGNER, 

Scenarist and Author 
Born — Detroit, 1872. 
Career — Kducated at 
the University of Michi- 
gan, became a newspaper 
and magazine illustrator. 
First attained prominence 
a.s a porlrait painter. 
First fiction was published 
in the Saturday Evening 
Post in 1916. Has written 
film stories for Charles 
Ray. Douglas Fairbanks 
and Realart Pictures 
Came to H o 1 1 \ n- ,■> o d 
10 OS. Contributed to 
Screetiland October i.ssitc. 



SIR GILBERT 
PARKER 

Author. 

Born — Toronto, Cana- 
d.i, 1862. 

Career — Graduate o f 
Trinity Colle-.!C. ()ri;an- 
ized First Imperial Uni- 
versities Cuitierence at 
l,ondoti in ^'.Ht,^. First 
published hook. I.S94. 
"The Monev Master" - 
ll'n.'i) and "The l.ane 
that Had No Turning" 
(1"(IU) rilmc<l by Para 
mount. Came to JJollx- 
■iood l'>2n. Contributed 
to Sercenland November 
issue. 



THE Motion Picture in our case has been the moun- 
tain; and Sercenland has been obliged to play the 
role of the prophet. 

For the industry of the Motion Picture belongs to the 
West, just as the piibli.shing business has appeared, in the 
past, to belong exclusively to the Kast. 

And SCREKNLAND has felt that in order to properly 
represent the Motion Picture it would be necessary to be 
in the heart of the industry, itself a part of the Romance 
and Adventure of the Playworld wherein it dwells. 

When this principle was first put in practice — about 
eighteen months ago — many great ob.staclcs confronted us. 
What hardships tho.se first few issues represented ! The 
local mills overcharged us on our paper; the inks on our 
covers faded and bleached in the sunlight of the news 
stands; the text of our pages were marred with frequent 
•inaccuracies and misprints. 

Few persons recognize the difficulties of developing a 
national publication where no national publication had ever 
been before. Wc were far from the center of advertising 
and distribution ; consequently we got no advertising and 
very little di.stribution. 

A magazine unknown to the picture world and etlited 
with a strange, new policy: — the policy of vivid, entertain- 
ing, vigorous, alive, really intelligent reHection of a fasci- 
nating Art, and written at that source, — was left lying on 
the news stands. 

The returns on those first six issues were tragic. Thirty 
thousand copies were sent out and fifteen thousand came 
back — unsold. 

l?iit at last the tide began to turn a little. First one 
page of national advertising crept into the book; then an- 
other. The public began to recognize and appreciate a 
publication that was valiantly fighting for good pictures 
and for the best writers to tell about them. 

So today SCREENLAND is on the crest of the wave. 



Its sale has more than tripled and increased orders and 
subscriptions are steadily pouring in. 

The greatest authors and artists in the world, all living 
within call of our office, responded to our efforts for greater 
names and greater talents in a motion picture magazine. 
They lent most bountifully of their efforts and .support. 

Soon SCREENLAND was enabled to offer to its read- 
ers work of contributors whose names were household 
words. To Elinor (jlyn, to Rupert Hughes, to Rita Wei- 
man, to Peter B. Kyne, to (louverneur Morris, to Penrhyn 
Stanlaws, to Rob Wagner, to Byron Morgan, to Monte 
M. Katterjohn our gratitude is particularly due. 

Although many of the greatest obstacles in founding a 
new magazine in a new environment are already overcome, 
there remain many more to be surmounted. Backed by 
youth, vigor and enthiisiasm, the policy of SCREENLAND 
is prepared for those obstacles with the foundation created 
by its accomplishments of the past few months. 

These accomplishments have been to secure the best pic- 
tures and the best stories for our readers. Wc have fought 
constantly against the insidious influence of "easy writing" 
— against that vastly abused form, the "star interview." 
We have kept the faith as printetl in our April issue: to 
print interviews that say something about people who have 
done things ; or failing these, to ]>ubli$h none at all. 

During the past eight months only eight interviews have 
appeared in SCREENLAND. One of these was secured 
at the bedside of Erich von Stroheim after he had com- 
pleted the greatest picture of his career and the most stupen- 
dous production of all times. Two others came from our 
Paris correspondent — an interview with Mar>' Miles Minter 
abroad and another of Chaplin first reaching I'Jurope. And 
lastly, an interview at the bottom of the sea was had with 
Irvin V. Willat, producer of Beloic the Surface. 

Every month SCREENLAND has contained "scoops" — 
stories published months ahead of other magazines. The 
Arbucklc Case in the November issue was an article made 



SCREEMLAND 



Page Thirty-five 



ATHENS OF AMERICA 



^ 




PENRHYN STAN- 
LAWS 

Portrait Painter, Director. 

Bar » — Duiidec, Scot- 
land, 1877. 

C a r e c r — C a m e to 
America in IHIl. Ks- 
tablishcd New Yoifc stu- 
ilio in I "OS. Built Hotel 
tU'S Artistes, largest stil- 
flio htiildinc: in .\mcrica 
ill 1910. Wrote a unc-act 
nlay produced at Yale in 
fHi. Came to tlvllyvooJ 
I<t2a. Contributed to 
Screenland .August, Sep- 
tember. October, Novei.i- 
b'-r issues. 



MONTE M. KATTKH- 
JOHN 

Sereen Author. 

Hem — Roonvilte, Iiid,, 
18'i . 

t'aifiT— Born in the 
literary belt nf Indiana 2*) 
years ago. Me turned 
devotee of the shadow- 
drama while in bi.s puppy 
years and has been writ- 
ins of, for and about 
**his art" ever since Par- 
amount pays his salary 
for his exelusive scenario 
efforts and he came to 
nolIyu'tuKl in lOI.S ,iiid 
contributed to .Screenland 
in the present i.ssue. 



GOUVERNEUR 
MORRIS 

Author. 

Born — New York City, 
1876. 

Career — Graduated 
from Yale, 1898. First 
book was published in 
1897. Has written nu- 
merous mafrazine stories 
am! novels. Wrote four 
screen stories for (lold- 
wyn an<l is preparing 
other .screen ori^^inals. 
Came to llollyn'ood r>20. 
Contributed to .Serecnlaml 
Xoveinlier issue. 



RUPERT HUGHES 

Soldier, Dramatist, 
Author, Musician. 

Born — I,ancaster, Mo., 
1872. 

Career — Yale graduate, 
1 899. nceame magazine 
editor in L,ondon, 1901; 
New York magazine ed- 
itor in I*.").**. Is rapidly 
gaining new distinction 
in fibotoplay sphere as 
.scenarist, director. Has 
written five screen orig- 
inals for Goldwvn. Came 
to llnltyiuooil 19'2n. Con- 
tributed to Screenland 
September issue. 




RITA WEIMAN 

.Author, Ptayviright. 

Born — Philadelphia, 
Pa., 1889. 

Career — Studied art at 
Paris and at Art Stu 
dents* League. Began 
writing during sclionl 
days. Special newspaper 
writer and free lance, 
becoming a playwright in 
1910. Prepared .several 
screen adaptations and 
original stories for Gold- 
wyn and Paramount. 
Came to Hollyxvood 1921. 
Contributed to Screen, 
land October issue 



|)ossiblr. by its timeliness. Pictures and a description of 
The Idle Cl/iss. the latest Chaplin picture, appeared in 
SCRKENLAND three months before they appeared else- 
where. The Cnhinet of Dr. Califfari, Foolish I'Fivat, Fool's 
Paradise. The Sheit and Omar are other big produc- 
tions which were first giveir to the theatregoers through 
SCREENLAND. 

Hundreds of exclusive photographs have appeared in 
recent issues of SCREENLAND — pictures that months 
later were broadcast over the world. 

But compared to mechanical difficulties, our editorial 
tribulations have been child's play. The opportunity to 
know and mingle with the people and scenes we have tried 
to tell you about — the greatest authors and .stars — the satis- 
faction of h.iviiig their friendliness and cr»-opcration ; these 
are the joys of editorship that being "made where the movies 
arc made" have brought. 

In .short, it is within human patience to work for months 
on a single story or to rewrite ah editorial .some half dozen 
times; but to suffer month after month the limitations of 
restricted press facilities, the annoyance of unsatisfactory 
engraving, and the heartbreak of unsold copies — these are 
Vv-hat send editors and publishers to the madhouse. Editori- 
ally. Hollywood is a heaven for magazine publishers; 
mechanic.-illy, it is something else. 

But with the production of this December issue we feel 
that we have passed another milestone in our technical 
growth. Our publication is now being turned out on the 
rotary presses of Atii-scadero — the largest rotogravure plant 
in the world. At this plant we have the services of a force 
of over one hundred skilled printers and publishers, with 
seven rotogravure presses at their command. At last, we 
are able to give our readers the very best in mechanical 
make-up as we have in the past .sought, and we hope suc- 
ceeded, in giving them the very best in editorial policy and 
performance. 

It is in no spirit of boasting or self-satisfaction that we 




I he .Vllieiuuin of .Vnurica home ni the Screen Writers" Guild of the 
Authors' Uraguc — where one hundred and twenty prominent authors 
and artists have established the nucleus of a center of intellect and 
creative genius which has made llollvwood "The Athens of America." 



have told this story. No one can live daily with a new 
publication without reali/.ing its many faults and short- 
comings. 

Rather, we have sought to reach out, beyond the pages 
of this magazine, and bring our readers behind the scenes; 
to let them recognize many of the tasks which have con- 
fronted us as Editors of SCREENLAND in the produc- 
tion of their magazine. And to assure them that each issue, 
throughout the approaching new year, will be better and 
better. We want our readers to be our friends — personally, 
intimately. 

This is why we have urged, and now urge, that you 
write in and tell us how we can help you in the several 
problems of your daily lives. For what good is a magazine 
if not to serve its readers? Service should be the backbone 
supporting every publication. Service to our readers will 
be the keystone of the arch upon which the SCREEN- 
LAND of next year, and all following years, will be 
founded. —THE EDITORS. 



Page Thtrty-six 



SCREEMLAND 




MARYON AYE 

Although Miss Aye is no bathing girl, she demonstrates here the com- 
ing vogue for hathing beauties — the rag costume. If Miss Aye takes 
Mama's tip she will not go near the water; for a stitch on dry land is 
worth nine when this rather shaky costume gets weighted with moisture. 

Photo by Edwin Bower Hesser. 



SCftEEMLAND 



Page Th>rtyseven 



EILEEN PERCY 

One would naturally think <tkat a big' 
concern like the Fox Film Co. could 
afford to pay its stars enough to get 
some winter clothes. But we are 
not complaining if Miss Percy isn t. 
Photo by Alfred Cheney Johnston. 




Page T1iirt}feight 



SCBEEMLAND 



%.^< 



'S^- 



''-*i^S^, 



/ am sure that your produc- 
tion of Penrod will have the 
success your Jong and careful 
preparation for it deserves. 
Please accent for yourself 
and that fine actor, Wesley 
Barry, my heartiest good 
wishes." 

BOOTH TARKINGTON. 



The famous Booth Tark- 
in^ton tales of the hoyhood 
adventures of Penrod Sco- 
field are bein^ brought to 
life on the screen. Mar- 
shall Neilan has he^un a 
screen production starrinj^ 
Wesley Barry in the title 
role and surrounded by as 
typical a cast of small boys 
as one could find in a day's 
march throu(fh his child- 
hood reminiscences. This 
cave scene was taken dur- 
ing the first day of produc- 
tion, in mid-October. 



|^< 



We have here, ladies and (fentle- 
men, Marshall Neilan, movie ven- 
triloquist. He pulls the stringfs 
and "Wes" does the rest. And 
that doesn't make "Wes" a 
dummy either. 



^ •.. 



The Royal Exalted Ruler is 
planning to commandeer his 
father's red flannel under- 
wear which he believes will 
make him a good pair of 
tights — a splendidly effec- 
tive costume for a Royal 
Exalted Ruler. 



^M^ 



h 



9^ 



SCfiEEMLAND 



Page Thirty-nine 




WESLEY BARRY 

San Francisco lost a promising newsboy when Mar- 
shall Neilan "found" Wesley Barry — a freckled, -fight- 
ing urchin on a street corner. Wesley's leap to fea- 
tured player and then a star was made m one-tenth 
of the proverbial three years that it takes to "make" 
a star. 



Page Forty 



SCREEMLAND 







J 




Spirit pKoto^raptiy, according to Sir Oliver Lodgfe, has been 
accomplished. But Artist Treichler claims he has something 
new in spirit drawing. By a remarkably sparing use of line, 
he has secured a convincing spiritual likeness ol Constance 
Talmadge. 



SCftEEMLAND 



Page Fortyone 




Captain Fremont's little 
Dana of wayfarers from 
Boonville, Mo., find them- 
selves in a land 'n'here no 
foot has trod before, mak- 
ing history of the vast 
plains, deserts and moun- 
tains of the West. We con- 
Ifratulate the Director he- 
cause there isn't a telegraph 
pole in sight. 

Art Standtsh (Art 
Acord) is the finest 
Indian fighter and 
trapper in the expedi- 
tion and he has many 
thrilling exploits, in- 
cluding a near-hroil- 
. ing at the stake. 



"Bibs iheDusl- 



The ^rorld must he becoming 
a better place; for the boyhood 
of Yesterday there was the dime 
novel; Today we have The Win- 
ners of the West, Universal 
serial starring Art Acord, peo- 
pled with national figures and 
woven from the cloth of historic 
adventures. 

There is that dashing fighter 
and pathfinder. Captain John C. 
Fremont, and Kit Carson, heroic 
scout and plainsman beloved of 
every American boy. And in it 
is the thrill of the gold rush of 
49, the mad-riding Sioux in war- 
paint, prairie fires and all the 
gripping fights and struggles of 
our pioneer forefathers. 

If the exciting episodes of 
this educational serial are given 
conscientious attention to detail 
and historical accuracy, congrat- 
vilations will be due Univeftal 
(or lifting the serial to an ac- 
ceptable form of entertainment. 




The Sioux braves in all their war paint, just as if they stepped 
from the pages of your story-book. 



Page Forty-two 



SCREENLAND 




//OU-FvDWN MOVIE SHOW \\. ,vvv 

~^^--<-. presenting: VIOIA DANA in ^^^^ 

Glass houses ^.d/ietroRoducmn 



Wken little Joy Weatherby lost her money and 
deciaed to become a -wofkingf girl she discov- 
ered that employers were not looking for girls 
in iilmy clothes and big hats with poodles under 
their arms. 



Joy returned home one night after Aunt Har- 
riet had barred the door against burglars. So 
she slept in the garage. Next morning she 
awoke to (inA Billy curled up on a seat of the 
same car! Both were staggered. 



SVl 



So Joy disguised herself with goggles and an 
old maid make-up. She returned to the employ- 
ment agency where her appearance enabled her 
to land a job with ease. 



Auntie found neither youngster had occupied ' ^ 
their rooms that night, so when they sneaked ;^ i 
in next morning she was sure they had eloped „. ' 

and instantly bestowed her blessings. Billy saw J; i 
marriage would save the girl's reputation. ,; 



'< 



H 



■4m^ 



The job was with Aunt Harriet, who was trying 
to reform her nephew, Billy Norton, and felt 
the need of youthful influence. But Joy soon 
learned that she liked Billy too well to ever 
become his reformer. 



After many vicissitudes, Billy learns that Joy 
isn't so bookwormish, after all. When Joy re- 
veals her true identity he promptly falls in love 
with her. Being already married, they lived — 
somehow — ever after.. 



SCftEENLAND 



Page Forty-tkree 




heir PASTS 

iSome Dark {or are they 
light ? ) Chapters out of 
the Early Careers of 
Four o( the Biggest 
Paramount Stars 



All the smart-Aleck maga- 
zine folks like to tease Glo- 
ria Swanson just because 
she used to be a Mack Sen- 
nett bathing beauty. Just 
the other day a celebrated 
mm authority said: "Gloria 
Swanson is now worth $300,- 
000 in any picture she stars 
in. Perhaps this explains 
why Famous Players-Lasky 
doesn\ complain at string- 
ing out so many O's on the 
right-hand side of her week- 
ly pay check. 





This reprint from an old 
photo supports the theory 
that great artists are born, 
not developed. The little 
ten-year-old lady scrutiniz- 
ing the artillery is Agnes 
Ayres. The picture •was 
taken Avhen she was play- 
ing in an amateur Wild 
West show. How long ago? 
When she was ten, we told 
you! 



This picture hearkens back 
to Wallace Reid's spear- 
carrying days. If you have 
been a picture fan for a long 
time, maybe you remember 
"Joan, the Woman." It was 
in this spectacle that Wallie 
achieved a leading role, cos- 
tumed as you see him here. 
It was in 1916. 

Photo by Hartsook 

Not every admirer of the present-day piquant 
Betty Compson realizes that she was a comedi- 
enne in two-reelers not so niany years ago. Since 
Betty started to lengthen her pictures and shorten 
her skirts, you would hardly recognize her as the 
slapstick queen, -would you? 



Page Forty^our 



SCBEEMIAND 



THE POVERTY OF RICHES— 

Goldujyn 
Goldwyn is wise in making pictures 
that Jeal with life as it is lived in 
River City and Chicago and Wichita 
and not just in the brain ol a director 
$1000 a week removed from plain 
livingf. It is everyday creatures who 
reflect ourselves and our neigfhbors. 
Ambitions, children, soapy kitchens 
and one-room matrimony have been 
neglected too long. Richard Dix and 
Leatrice Joy will please you with their 
sincere interpretations of human 
beings. 




r LITTLE 
HINTS 




m 

r.-* 



(Continued front 
Page Twenty-five) 



BING BANG BOOM— 

Western Pictures 

An old-fashioned love 

affair, town politics and 

David Butler working in a shoe store makes an 
interesting picture with comedy enough to make 
you enjoy it even if it doesn't stir and excite you. 
A picture well adapted to invalids to whom the 
shock of sudden emotion might be disastrous. 
The title is somewhat misleading. Should be 
named Zi^ Zing Zowie or something a little 
milder. 

THE RAGE OF PkKlS— Universal 
Universal re-named Margaret Armstrong Miss 
DuPont and starred her. From long association 
with gunpow^der, the name seems to have had 
flaming results. At least, in The Rage of Paris, 
Miss DuPont assumes the role of a married lady 
^th the wanderlust and makes an excursion 
into the French capitaFs wicked half world that 
is at least stimulating. With a ravishing ward- 
robe Miss DuPont shows that her year in Fool- 
ish Wives taught her a thing or two about fool- 




THE CHILD THOU 
GAVEST MB-John M. Stahl 

Springing from an unsavory dramatic seedbed, your 
theatre billboards will declare that it has a "daring 
theme." By the more or less delicate elimination of cer- 
tain unspeakable scenes, it leaves things to the imagina- 
tion which does nobody's imagination good to have there. 
Three-year-old Richard Headrick, Lewis Stone and Bar- 
bara Castleton. Don't take the children or you 'will have 
some unpleasant explaining on your hands ^x^hen you get 
home. 



SCftEENLAND 



Page Forty^ve 



Uc 




or 

GOERS 



THE JOURNEY'S END 

— Hodkinson 

Another subtitleless picture. 
TKe lack is supplied, though, by 
providing the star, Mabel Ballin, 
with two husbands. It's the 
modem tendency ol spare parts 
in the home as well as in the 
parage. 

Anyway, it's a ^ood lesson for 
all ^irls who contemplate having 
two husbands, is entertaining for 
those who do not and is safe 
enough to allow your own hus- 
band to see. 




THE CASE OF BECKY— 

Realart 

Another ghost of the past— a 
dual personality role. Why will 
they not let it rest in its grave. 
Periodically, this sere and yel- 
low specter is marched from its 
tomb to rattle its ancient, dank 
bones before us. 

However, since producers will 
not let moss grow on this theme, 
for once, at least, it is sincerely 
done and is convincing as pos- 
sible. Constance Binney trans- 
forms her breexy likeable-ness 
into a striking though unpleas- 
ant Becky, 



GYPSY BLOOD— F,r,e 

National 
Foreign film antagonism 
having subsided, Germany's 
Gy^sy Blood (Pola Negri's 
version of Carmen.), has been 
withdrawn front chaste First 
National vaults, w^here all the 
men are married and there- 
fore appreciate La Carmen- 
etta's throbbing, vivid, love- 
making. Carmens have come 
and gone in pictures, but you 
will be convinced that this 
w^as the real Carmen — pas- 
sionate, crafty, elemental, 
ferocious, without a dam how 
she looked. 



NEVER WEAKEN— Ha/ E. Roach 
Harold Lloyd's popularity won't if he keeps making pictures like 
this. Here at last is a coming comedian who will give Chaplin a 
race for his laurels. His comedy is every bit as funny, his charac- 
terizations unusual, and to counterbalance the Chaplin pathos he 
has an air of injured innocence — even when hanging from the edge 
of a ten-story building. At its world premiere at a Los Angeles 
theatre. Never Weaken broke all known records, whatever they are. 



(Tiore "Little Hints to Playgoers 
on Pages 64 and 66.) 



Page Forty-six 



SCREEMLAND 



y^^^^^^^^^^^^^>^^^^^^^' 




PERSONALITY SNAPSHOTS 



Thumb Nail Paragraphs about Your Screen Favorites in Their Climb along Stardom Orbit 

By MONTE M. KATTERJOHN 



THEY are human beings, even as 
you and I — these idols of the sil- 
ver sheet. It has been my good 
fortune to know most of them since the 
days of "the Biograph girl." I have 
observed them in their climb along the 
orbit of stardom, and in this procession 
of personalities have known most of 
them "off stage." Here, then, are a few 
anecdotes, character observations and in- 
side facts, proving that photoplay stars 
play and dream and strive and hope — 
"even as vou and I." 




For instance,' 
when Charlie Ray 
was working beforn 
the camera with 
Frank Keenan in 
The Cownrd for 
the meager stipend 
of fifty dollars a 
week, he resentfully 
said: 

"I don't think 
they'll ever give me a chance!" There 
was a defiant quiver in his voice. His 
work in that particular picture even- 
tually resulted in his elevation to star- 
dom. Two years later, when being 
featured as a small town rube in The 
Clodhopper, Charlie pleadingly ob- 
jected : 

"I don't want to become known as 
a player of rube parts. Don't you think 
I could do westerns or society heroes 
just as well ?" 

Let's see, what kind of a part did 
Charlie play in his last picture? 



Clara Kimball 
Young might have 
settled our recent 
European unpleas- 
antness with far 
more decisiveness 
than did the peace 
advocates at Ver- 
sailles, judging 
from a scene once 
enacted at Vi t a- 
graph's Brooklyn Studios. 

The director, James Young, was tear- 
ing both his hair and pages from a book, 
stamping the floor and subsequently the 
book, all in the exasperated presence of 
J. Stuart Blackton. Miss Young en- 




tered at the height of the argument, just 
when the adjectives became very plain. 

On learning the cause of the spirited 
scene. Miss Young remarked : 

"I have read the book. Mr. Blackton 
is right; it would make an excellent pic- 
ture. But Mr. Young iis also right. 
And as for my role, it is splendid, except 
that it is far too good for me. How- 
ever, if you can agree I'll consent to 
work in it." Whereupon she departed 
and the surprised men fell to discussing 
motor boating. 

Afterward ' another motion picture 
company successfully launched a new- 
star in that particular story. And that 
was the price Miss Young paid for peace. 




•V 



Five years ago I 
caused a 21 -year- 
old player of extra 
parts to be cast for 
a small bit in Wil- 
liam S. Hart's The 
Apostle of Ven- 
geance. He made 
good, and today 
John Gilbert is a 
star under the Fox 
banner. He climbed to the pinnacle on 
the ladder of praise. That is, when he 
had just heard a word or so of praise 
he could go before the camera and en- 
act a lifelike scene almost without direc- 
tion or rehearsal. But should he have 
some adverse criticism, he vi^ould half- 
heartedly go through the mechanics, a 
mannikin, stilted and lifeless. 

During his journey upward he would 
boastingly remark: 

"I'm going to be a success! Why, 
when I'm your age, I'll be making twice 
the money you're getting now. I'll be 
a big star one of these days !" 

He would repeat this and like state- 
ments over and over, hypnotizing him- 
self with the thought that he was 
among the best actors before the camera. 
His success today is due to his confi- 
dence in himself, and directors have 
learned that a generous amount of praise 
always results in a most perfect piece of 
work. 
Yes, there are temperamental stars. 




Alice Terry hails 
from my State — In- 
diana. When I used 
to work on a certain 
Vincennes daily pa- 
per Alice was study- 
ing her fifth reader 
and sucking a lemon 
through a stick of 
peppermint candy. 
Six years after- 
ward, I met her again. But this time 
she was a member of Inceville's famous 
stock players back in the days of Tri- 
angle-Kay-Bee pictures. 

How that child loved candy! She 
spent most of her time before the candy 
counter in the cowboys' commissary 
buying chocolate-coated marshmallows 
or some other toothsome sweet. Mean- 
while, she was just one of the mob, 
wondering why she was never given a 
"bit" in a small part. Day by day she 
was taking on weight. 

Then she was offered a small part in 
Bessie Barriscale's Not My Sister with 
the proviso that she never eat another 
piece of candy as long as she was with 
the company. 

That was the start which led to Rex 
Ingram's Four Horsemen of the Apoca- 
lypse, where I watched the triumph of 
a slender, graceful girl-woman who once 
was in competition with the jolly Almas 
of the sideshows. 

Such is the price of fame. 




TWO 


WESTERN 


MAGAZINES 




An Unusual 


Offer 




for 




SCREENLAND 


READERS 


' 


See Page 


56 



SCBEEMLAND 



Page Forty-seven 



Qt^ituiind'^Eiturists 

«> orThefir Oum ModierS 

vVbulaiftl^oivrhGTn 



THESE three eccentric portraits of famous stars 
partake of the extreme modernistic tendency 
in art, while at the same time they beai* a 
striking resemblance to the conventional type of 
■wood-cuts of the eighteenth century. Thus they 
supply the missing link connecting the modern 
faddists 'with their earnest but hungry predecessors. 

The artist, Mr. George H. Fisher, has blithely 
dispensed with nearly every recognized art stand- 
ard and yet has preserved a distinct likeness to 
Naximova, Mary Pickford and Gloria Swanson — 
something no conscientious cubist 'would dream of 
doing. 

"I did these pictures in all sincerity," Mr. Fisher 
said when he turned them in to the Editor, "but 
you can have all the fun with them you want to.^ 





GLORIA SW ANSON 




ALLA NAZmOVA 



MARY PICKFORD 



Page Forty-eight 



SCREEKLAND 



THE KIND OF A GIRL 

WHO MAKES A STAR 

JUST the kind of a girl she hopes to find 
. through the SCREENLAND-FAIRFAX 
Opportunity Contest is told by Miss Marion 
Fairfax in the following absorbing article. 
The qualities that go toward making an ex- 
ceptional star are more exacting, perhaps, than 
you have ever imagined. 

The SCREENLAND-FAIRFAX Opportu- 
nity Contest will be open until April 15, 1922, 
and the winner, selected by the three judges 
named on the opposite pa^e, will be an- 
nounced in the June, 1922, issue of SCREEN- 
LAND. This arrangement of dates will make 
it possible for almost any girl to effect her 
trip to -California in vacation-time from 
school or office. 

Of course, nny girl is eligible, no matter 
where she lives. The girls who have already 
entered, a few of the pictures of whom ap- 
pear on the next page, live in all parts of 
the United States. 

Carefully read the coupons at the bottom 
of this page before you mail yottr photograph. 
Please don't endanger your opportunity to get 
this glorious experience of a lifetime by send- 
ing a poor photograph or a stamp picture or a 
kodak snapshot Your features must be clearly 
shown. The photograph must speak for itself. 

Also, do not delay sending your picture. 
From month to month, selected ones will be 
published in SCREENLAND. 

And last, but as important as anything else, 
do not write. Simply fill out the coupons. 
That is all the information the judges will 
need. They cannot enter into correspondence 
with you. It would be unfair to odier con- 
testants, remember. 

Will you be the one to travel this highway 
to success — stardom, perhaps? It is so easy 
to try. Just send your photograph — today! 




During her stay in "Screen- 
land'^ftlie contest winner will 
be the home guest o{ Miss 
Fairfax. The above picture 
shows the west entry to the 
artistic Fairfax Spanish haci- 
enda on Vine Street, Holly- 
\iroo<]. How would you like 
to he driven up this drive- 
way next June as the queen 
of the SCREENLAND- 
FAIRFAX Opportunity Con- 
test? 



STAR DUST 

By MARION FAIRFAX 



Miss Marion Fairfax, prominent woman 
motion picture producer and director, who 
will cast the Contest winner in a leading 
role in a feature production — ^the biggest 
make good'^ opportunity ever offered an 
unknown screen aspirant. 

Photo hy Hoover 



JUST what constitutes good star material? What qual- 
ities, inherent, or acquired, are demanded by the ambi- 
tious producer in his stars? Of course, the old adage 
"many men, many minds" applies to this problem as it does 
to all others, but in this case the producer is a woman — 
and the following items constitute my mind on the subject. 
First — Personality; which I sum up as mental and phys- 
ical alivenesi. 

Second — Imagination; the ability to project that person- 
ality into and through the part or character to be Interpreted 
— ^to pour it into and out of innumerable moulds and yet 
never become negative. The negative assuming of a char- 
acter — ^the careful and accurate deh'neation of it — will make 
a fair character actor, but it does not necessarily make a star. 
To this careful interpretation the star must add the positive 
creative qualities of a keen imagination and intellect. 

Third — Intelligence; which I define, 
for screen purposes only, as the ability to 
think and act at one and the same time. 
Undoubtedly many people will say this 
should be the first, not the third, require- 
ment. But many a good actor is gifted 
with a fine degree of intelligence and yet 
lacks the other qualifications that arc re- 
quired in a star. 

Fourth — Stick-to-it-ive-ness ; the work- 
appetite. The would-be star must be a 



SIX MORE MONTHS 

Until the Winner 

of the 

SCREENLAND^AIRFAX 

Opportunity Contest 

Is Announce<L 

You Should Get Every Copy. 

5«« Pag* 56 



glutton for work. Contradictory as it may seem, the imagi- 
native, personality-plus star must also be a plodder if he or 
she is actually to cash in on said star-ability. 

Fifth — Youth ; because "art is long and time is fleeting" 
— and also because the camera is very cruel. 

Sixth — Good looks; because the star is the peg upon 
which every spectator hangs his or her own private ideas 
of Romance. 

Seventh — Charm; last, but by no means least. Charm 
has never been defined, but let's call it lovableness. To 
attract and hold the attention of the spectator is not enough. 
The true star must appeal to the heart as well as to the 
intellect. Half the world loves Mary Pickford, Charlie 
Chaplin and Douglas Fairbanks, and \vill risk being crushed 
in a mob just to get a glimpse of them. 

Of course, when all seven of these requirements are 
found in any one person we have not 
only the star, but the super-star, the 
star par excellence — but what director 
does not dream of finding, training and 
presenting to a grateful world, star- 
material such as this? And on the 
other hand, what director is not thrilled 
when he finds a budding artist with any 
three or four of these seven qualifications 
of the super-star, working with what he 
has and hoping to develop the others? 



SdffiEMLAND 



Page Portymne 




Miss Katheryn Getts, 
Los Angeles, Calif. 



This will be the prise given 
to *'the most beautiful girl in 

SCREENLAND:" 

A free round trip to Cali- 
fornia^— 

A $100 a week contract with 
Marion Fairfax Productions 
to play a leading part in a 
feature prodviction— - 

A month among the studios, 
during which time she will 
meet all the famous stars 
and directors in Movie- 
land— 

Her picture reproduced in a 
page portrait in SCREEN- 
LAND magaxine — 

An o^ortunity never before 
equalled in any motion pic- 
ture contest. 



Have ipu mailed 
M^URDictui^ 

fofhc 
SCREENLAND-FAIRIAX 

OPPORTUNITY CONTEST 




yiiss Anna Ross, 
Claremore, Oklahoma 



Irene EdmonJs, 
Portland, Ore. 











On April 15, 
1922, the most 
beautiful girl in the 
SCREENLAND- 
FAIRFAX Oppor- 

tunity Contest will 
be chosen by three 
judges. The three 
judges will be 
Marion Fairfax, 
prominent woman 
motion picture di- 
rector and pro- 
ducer ; Penrhyn 
Stanlaws, interna- 
tionally famous 
artist and director, 
and Myron Zobel. 
editor and publish- 
er of S C R E E N- 
LAND. 











Paste this Coupon on Back of Photo 



Paste this Coupon OUTSIDE of Package 



Name . 

Street Address- 

City 

My height is. 



State.... 

Weight... 



Age Color Hair. Color Eyes... 



SCREENLAND 

Markham Building 

Care Opportunity Contest Editor 

HOLLYWOOD, CALIFORNIA 



No Photograi^hs will be entered in the Contest without these Coupons attached. No Photograph entered in the Con' 
test can he returned. 



Page Fifty 



SCREEMLAND 



■l:it-'!HfS-»tii- rwftun- 





''■«5E? 



Sketch bu Julian Fleming 



Perhaps this "honey- 
moon" plan is differ- 
ent than yours. I{ so, 
write to the "Home 
Editor" anyway. He 
can help you in any 
affair about your pros- 
pective home. 



%HONE.^^OON 
BUNGALOW 




No, it isn't really. But wouldn't it be appropriate for 
a little dovecote? If anyone wants to copy it, SCREEN- 
LAND Home Editor will supply plans and specifications 
to prospective honeymooners. 

The demi tasse cottage pictured here stands on the Real- 
art Studio "lot" at Hollywood and it is occupied by Bebe 
Daniels and Wanda Hawley, Realart stars. 

Bebe Daniels' suite is filled with all sorts of antiques 
and bizarre Oriental things are scattered about. Also, the 
kitchenette boasts real kitchen utensils so Bebe can entertain 
friends between scenes with all the comforts — or is it dis- 
comforts? — of a home. 

The Daniels color scheme is blue and black, the furni- 
ture black lacquer, and it is the the mirror-iest place you 
ever saw. 



A corner of the Daniels suite. 



Wanda Hawley's suite is gray-blue — to match her eyes, 
no doubt. A blue enameled screen hides the dressing room 
from the "lounge", a feature of which is the fireplace. The 
furniture is of enameled wicker typically Californian, and 
sunlight filters through chintz hangings. 




and a nawl 
her dressing room. 



SCREEMIAND 



Page Fifttf'One 



..#..»..« »» .«..»..a..^..»..aMa,«..i 




SCREENLAND ON THE SCREEN 

dCfiEENLMD 



_^gf . AVAGAZINE 

^^ T^yron ZobelI\iblislier 




Takes pleasure in announcing a co- 
operative agreement with 



u 



Screen Snapshots 

Produced by - 

LOUIS LEWYN and JACK COHN 

THE FILM FAN MAGAZINE ON THE SCREEN 

Inttmate glimpses behind the screen and at home with the famous stars of Screenland 



Special Combination Release! 

Screen Snapshots in Screenland 

"Homelife Number" 
In this Release: 



WM. S. HART 
MARY M. MINTER 
THOMAS MEIGHAN 
EILEEN PERCY 
TOM MIX 
REX INGRAM 



WILL ROGERS 
CHARLES RAY 
HAROLD LLOYD 
ENID BENNE'rr 
DOUGLAS McLEAN 
ALICE TERRY 



All your favorites >n one reel 



As a result of this tie-up (be- 
ginning; with the next re- 
lease) all the interesting ex- 
clusive material appearing in 
SCREENLAND Magazine 
will be shown in motion pic- 
tures and all the luiusual sub- 
jects incorporated in SCREEN 
SNAPSHOTS - will appear, 
from time to time, in word and 
pictures in this magazine. 



Screen Snapshots 

One reel every otKer week 
SkoAvn in ten thousand theatres throughout America 

// your favorite movie house is not showing SCREEN SNAPSHOTS 
Ask the theatre manager to book it from any 

Federated Film Exchange 

At the following distribution centres: 



ATLANTA 


CINCINNATI 


LOS ANKKLKS 


NEW HAVEN 


ALBANY 


DETROIT 


LITTLE ROCK 


NEW ORLEANS 


BUFFALO 


DENVER 


MINNEAPOLIS 


OMAHA 


BOSTON 


DALLAS 


MILWAUKEE 


OKLAHOMA CITY 


CHICAGO 


KANSAS CITY 


NEW YORK 


PITTSBURG 


CLEVELAND 









CANADA— TORONTO. MONTREAL, WINNIPEG 



PHILADELPHIA 

SAN FRANCISCO 

SEATTLE 

ST. LOUIS 

SALT LAKE CITY 

WASHINGTON, D. C. 



.., t»tl tTf11TTT' 



■ ■> M » M <ll>l.>ll#l.<l.t.ll 



■■>ll>ll>ll>.l<l 



lll«l.>ll<..»l.>l.>l.»ll»ll»lll 



-■■■■'■■'■■ll«il«li»l H ■!■■■■»■ 



-*? 

••>•* 



Page Fifty-two 



SCfiEEMLAND 




>AeE 



Anna K., of Kansas City, Mo.,' the 
kind soul, says: "What do I hke best 
in SCREENLAND? Why, Your Own 
Page. It contains such splendid in- 
ducement." Miss K. also wants Monte 
Blue's address. The SCREENLAND 
Service Bureau by now has no doubt 
informed her that Monte is playing in 
stock at the D. W. Griffith Studios at 
Mamaroneck, L. I. 



The world is awakening to the truth 
that the vast Motion Picture is not 
only usurping other amusements, but 
that the influence of the screen is trace- 
able in every community, every home 
and in the life of every individual in 
every civilized portion of the globe. 



Thus, in the motion picture field, a 
magazine faces one of the most splen- 
did missions of service that any maga- 
zine can fulfill. The Motion Picture 
contains a tremendous power for ele- 
vating social ideals. The Motion Pic- 
ture magazine must aid it. 



"The only movie magazine that 
pleases everyhody^^ kindly pens El H. 
of Newcastle, Pa., "unless it is the 
man who inscribes tombstones.'* Any 
reader who inscribes tombstones: will 
you please write and tell us how we 
may interest you? 



What the Editor of Your Own Page 
likes best in SCREENLAND — and 
why — is that so many readers (both 
interested and interesting) are writing 
letters — ^letters that help improve each 
issue. 



Comments- a-plenty came for every 
ps^e this month except for the star 
bungalows — The Honeymoon Bunga- 
low the page is called this month. 
What's the matter with the bungalow 
department? Don't any of you read- 
ers live in houses? The Home Editor 
is worried. Send in some questions 
and cheer him up. Or else tell him 
what is wrong with his page. 



Thirty-one writers this month said 
they "happened to be standing in 
front of a news stand" and thus 

bought SCREENLAND. SCREEN- 

LAND is about to launch a national 
movement establishing benches in 
front of all news stands. Details 
later. 



A $10 first prize will be paid every 
month to the Screenland reader who 
sends to the Editor of '"Your Own Page" 
the best answer to the following three 
questions : 

What I like best in Screenland, and 
why. 

What I like least in Screenland, and 
why. 

How I came to buy my first copy of 
Screenland, and why. 

A second prize of $S wiW be paid for 
the next best letter. A third prize of a 
year's subscription to Screenland will be 
awarded to the third best response to 
the three questions. 

The letter that wins the' first prize 
will be published each month in this 
space. Announcement will be made on 
this page in each issue of the winners 
of the second and third prizes. 

Why do j'ou read Screenland? Vour 
answer may be a prize winner. Write 
it to "Editor. Ycur Own Page." Screen- 
land, Markham Building, Hollywood, 
California. 



THE $10 LETTER 
What I Like Best and Why— 

"A surprise in every issue. Be- 
cause SCREENLAND is made in 
the heart of the industry." 
What I Like Least and Why — 

"The articles are a trifle too short. 
Enlarge the magazine and raise the 
price." 

How I Came to Buy My First 
Copy — 
"I was struck by its novelty. 
SCREENLAND has something for 
each individual. Also, the famous 
contributors." 

R. L. Brighton, 
Boulder, Colo. 



THE $5 LETTER 
What I Like Best and Why— 

"SCREEN LAND'S timeliness. It 
is' up to the minute." 
What I Like Least and Why — 

"I missed four copies." 
How I Came to Buy My First 
Copy — 
"It stepped out after me from the 
news stand." 

Mrs. Joseph Bastien, 

Los Angeles, Cal. 



THE ROMANCE OF THE WEST 

In Its ^^vfO Virile Magazines 
See Special Offer on Page 56 



THIRD PRIZE LETTER 

What I Like Best and Why — 

"Your Own Page, its personal 
touch." 

What I Like Least and Why — 
"It doesn't last long enough." 
How I Came to Buy My First 
Copy — 
"I saw it was made right where 
the movies are made — something 
more than I ever expected." 
Miss Mary Crompton, 
Toronto, Canada. 



The story of SCREENLAND is on 
Page 34. Read it, for then you will 
realize the goal the Editors have set 
to help and entertain you through the 
forthcoming year. This bigger and 
better number of SCREENLAND, re- 
member, is only a beginning. 



"It is just the right size," writes an 
Oakland, Calif., young lady. We hope 
that Miss M. will not object to these 
added pages. 



The 18 players represented in the 
Silhouette Contest are: Clara Kimball 
Young, Theodore Roberts, Sessue Ha- 
yakawa, "Bull" Montana, Norma Tal- 
madge, Thomas Meighan, Jackie Coo- 
gan, Ben Turpin, Tom Moore, Doug- 
las Fairbanks, Mary Pickford, Wm. S. 
Hart, Buster Keaton, Roscoe Arbuckle, 
Wallace Reid, Will Rogers, Gloria 
Svvanson and Bebe Daniels. 



Autographed contest photos will 
soon be sent to all the winners. The 
answers are being checked daily. 
Those who guessed all hut one cor- 
rectly will receive a partial set and 
guessers who missed just a few will 
be mailed pictures of the ones they 
missed so they'll know the stars bet- 
ter next time. Of course, no more 
guesses can be received no-w that the 
list is published. 



"I read SCREENLAND'S reviews 
before I ^o to the movies," is a para- 
graph from a reader in New York City. 
For goodness sake, don't go to them 
all, friend reader! In this issue 
SCREENLAND prints 36 Little Hints 
to Playgoers. 



GctThin i omamt ' 

This offer removes the last doubt! Ill 
reduce you five pounds free. In five 
days' time, in your home, with your 
own phonograph. Send no money. 




My reduction method is 
safe and sane. It is quick; it is 
sure, for I've reduced five 
thousand men and women 
without a single failure! 

This wonderful way of taking 
off flesh works hand in hand with 
Nature. That's why it brings glori- 
ous health; I ask no drastic denials; 
no punishment of the system. 

How I Reduce 
Men and Women 

Food does not cause fat. Many stout 
men and women eat less than a child 
of ten. My method lets you eat. But it 
causes your system to use all your food 
for blood, bone and 
sinew. Your new 
powers of elimina- 
tion dispose of all 
waste. Nothing is 
left from which fat 



can be made. Ten or fifteen pounds 
reduction is nothing — one lesson will do 
that. For 50, 60, or 75 lbs. I require a 
little longer. But the result is always the 
same. A normal figure, remaining flesh 
firm and smooth, symctric bodyand limbs. 



Read These Lettets 

(PritttMl by PermisMon) 

I spent hundreds of dollars tryioir to set tbin, 
but your first lesson took off 12 lbs. and I cat every- 
thini: I want. It is all so wonderful, music and all! 
You have brocubt a blcssine into my life. 

(Mrs.) Mildred M.Sykcs. 
SOON. Florida Ave.. 
Atlantic City. N.J. 

Havini; (educed 60 lbs., my friends pass me 
without reco:;nizinif who it is, I feet and appear 
ten years younuer, 

(Mrs.) Grace Horcbler 
4625 Indiana .'\Te., 
Chicago, III. 

In twentV'two days I have reduced^ 11 
lbs. I love the lessons, and am feeling 
better than in monihs. 

(Mrs.) V. W. Skinkle. 
914 N. 40tli St.. 
Omaha, Neb. 

I have reduced 15 lbs. in two lessooa 
and you are free to use my letter. 
(Mrs.) Csta ArbaiiKh. 
Mandamin, la. 



FREE PROOF 






'^i&k 






W^ 



Men Keaders 

of SCREENUXND are just 
as welcome to this trial 
a.s women. My course 
reduces either sex. Just 
fill in and mail the 
coupon. 



K/'yf ]>\TT\T/^ It is Wallace's twenty years of experience as a physical director which make Wal- 
wr t^M\x\Xl.^KM ijje records yalaablc. Beware of pitiful attempts to imitate bis methods and results 



WALLACE >^i*^ Chicago 

I Please send record for first reducing 
I lesson, free and prepaid. I will either en- 
I roll, or return your record at the end of 
■ a five-day trial. This does not obligate 
Z me in any way. 

1 Name 

I (42) 

I St.&No 

I 

I P.O. State 



Page Fifty-four 



SCftEEMLAND 




DOUBLE HUSBANDS 

hy J. L. R., J^em^his, Tenn. 

You say you have written many stories, 
some of which have taken you months to pre- 
pare, yet they always come back. And you 
want to know what is wrong. 

A genera! criticism of your work is there- 
fore cf more value to you now than specific 
criticism of the manuscript you have sub- 
mitted. 

Scant material for a screen stor}' appears 
in Double Husbands. The same is true of 
the comedy you have sent. You should closely 
study a good motion picture. Notice that il 
contains four or five, or maybe more, unusual. 
Striking situations. Your drama contains 
nothing novel or unusual. Don't expect a 
studio to pay you for having a lion chase :i 
man up a tree. In such a situation, the lion 
and the director do all the work. Anybody 
can write that. 

In fact, you seem to fancy animal acts. In 
your comedy, the cat is obliged to produce a 
family of kittens in an oven. At another 
point, you put this stunt up to the kitty: 

"Tweenie, with her family following, strolls 
into dining room, looks up to table, gets on 
tabic, tastes food, gets down and grabs kitten, 
jumps up on table and repeats act until all 
but one kitten are on table." 

You can sell this story if- you supply the 
studio with a cat that will do the tricks. 

What you need are situations — human situ- 
ations — not animal acts. 

A FLYER IN MATRIMONY 

hy C. S. D„ Washington, D. C. 

Yours is the hardest manuscript to read 
that we have ever seen. How do you ever 
expect any scenario editor to wreck his con- 
stitution trying to glean a plot from the 
shocking jumble of utterly irrational stuff you 
have sent us? You state that the synopsis is 
from the story Her Accidental Husband. It 
might make a popular song, but it will never 
make a motion picture, in our humble opinion. 
You have shown no regard for dramatic 
sequence. 

THREE TO ONE 

by Harry F., Bayonne, N. J. 

A very wholesome little story up to the 
point where Jack aids a gang of thieves, be- 
ing desperate for money so he could return 
home to visit his ill mother. 

However, you will learn as you write more 
that the mechanism of a well-written drama 
is as complete as the engine of an automobile. 
Some beginners have too many "spare parts" 
— non-essential characters and action. But 
you have not enough. Your story is more 
like a wheelbarrow. 

But never mind. A wheelbarrow is a finer 

mechanism than a shovel and some scenarios 

we have seen are no more complicated than 

shovels. Keep tr3'ing and some day you may 

write an eight-cylinder drama. 



Title Reg. V. S. Pat. Office. 




MY MAIDEN EFFORT 

By BYRON MORGAN 
(Paramount Scenarist) 

My first picture story? Oh, boy, those were 
the happy days. For I knew that now I 
could wear a golf suit on Hollywood Boule- 
vard and own a pair of riding breeches with- 
out the expense of feeding a horse. Then, 
too, Old J. D. Ward, Dorothy and Toodles, 
the characters of my first magazine stories, 
were real people to me and the thought that 
they were actually going to live and tell me 
(as several of them did), what rotten parts 
I had created for them, was a real thrill. 
In fact. It was a triple thrill, a sort of ma- 
chine gun affair. Just three months previous 
to the sale of my first picture story I had 
sold my first magazine stories — three of 'em 
In a bunch to The Saturday Evening Post. 
Is It any wonder I often long to twist the old 
clock back and live over those momentous 
days? You see, t didn't buy the golf suit 
and now I haven't the nerve. But if I could 
turn time back — well I guess Nature protects 
herself In mysterious ways. 

The sale of my first magazine and picture 
stories so closely together was not a coin- 
cidence. For the picture producers had ac- 
tually forced me to write for the magazines. 
With a regularity that was painfully mono- 
tonous, they had returned my original stories 
until, in self-defense, I tried the magazine 
field. Sh-h-h-h — then they bought the same 
stories they had rejected In synopsis form 
and paid TRIPLE THE PRICE! 



// you arc a subscriber, or if you send 
in a paid subscription to SCREEN LAND, 
you arc entitled to one personal detailed 
criticism of your story on this page by our 
scenario expert — one criticism for each 
subscription. 

NO CHARGE whatsoever is made for 
this service. 

Questions of literary phases of the screen 
arc also answered' in this department. For 
this service you do NOT have to be a sub- 
scriber. 

Manuscripts submitted for criticism are 
returned, if return postage is enclosed, 
within two weeks, but the large number of 
scenarios submitted often make it impos- 
sible to publish the criticism in the first 
issue following receipt of the manuscript 
in this department. 

Address ail manuscripts to "Scenario 
Editor," SCREENLAND. Markham Build- 
ing, Hollywood, Calif. 



THE GREATEST LAW 

hy J., A. H., Cleveland, Ohio 

Let's be sociable, J. H., and outline enough 
of one sequence of your story so other read- 
ers will know what we're talking about: 

Thomas Featherstone, convicted on faulty 
circumstantial evidence of the murder of 
pretty Maura's father, is sent to prison and 
obliged to work so as to devote his earnings 
to the support of Maura and her mother. 

In prison, Thomas becomes a great painter, 
his earnings enriching Maura, who moves to 
New York and joins the socially elect. Then 
comes the deathbed confession of a scorned 
woman who really killed Maura's father; 
Thomas is freed and marries Maura. 

You will surely agree with us that the most 
conspicuous feature of your story is the pecu- 
liar penalty. Not a bad idea, making a pris- 
oner work for the dependents of his victim. 
It is "the greatest law" since Moses' time. 

Otherwise, T/ie Greatest Latv is more a 
narrative than a plot. You have not ascribed 
a convincing motive for Jassemine killing the 
heroine's father, nor divulged any episodes 
in your story which would lead up to the act. 

THE ROAD TO HAPPINESS 
hy D. I. P., Lawrence, Mass. 

Your story has one valuable situation — the 
one about forgiveness. 

Build your plot around this Golden Rule 
idea, add a few other good situations and 
you may then have a marketable scenario. 

To print your forgiveness idea on this page 
would be unfair to you; and without doing 
so, discussion of it is limited. As to other 
phases of your story, we advise you to find 
greater contrasts. It is somewhat wishy- 
washy. The wrongs should be big, elemental 
wrongs, so presented as to stir an audience. 
The good should consist of great self-sacrifice, 
humble self-abnegation. This will give you 
greater contrasts — conflict. 

THE SICK LIST 

by L. T., Zanesville, Ohio 

No amount of criticism would enable you 
to build, from either of the two comedies you 
have submitted, a salable story. Please re- 
member, in making severe criticisms this de- 
partment seeks to discourage no one. Also 
bear in mind that screen stories, although 
seemingly simple, are more difficult to write 
than printed fiction. Many famous authors 
have said so. So the fact that your efforts 
are inadequate should not discourage you. 
Bear in mind that picturing the seamy side 
does not mean to drag life's dregs ftom the 
shadows. 

Q. — What percentage of scenarios sub- 
mitted to studios are accepted? 

A. — We laere recently informed that out 
of more itian 14,000 scripts received by Lois 
Weber Productions in a period of less than a 
month, that ONLY EIGHT <were worthy of 
consideration. Miss Weber subsequently an- 
nounced that outside story material leoitld 
he accepted through authorized agencies. 



SCREENLAND 



Page Fifty-five 



The Screen Writers' 
Comer 

Conducted by 
Frederick Palmer 

'T' HOUGH you amass the wealth 
*■ of Croesus; though you acquire 
power, and all the catalogued and 
classified knowledge in the visible 
universe; though the world slaps you 
on the back and shouts "Success!"— 
Life has mocked you, and you know 
it down deep in your heart, if you've 
failed to express your real self. 

The folks at home, and perhaps a 
score of so-called practical, dry-as- 
dust acquaintances, seriously warn 
you against the inevitable poorhouse 
or emit a sickening, patronizing smile 
— ^when you mention your determina- 
tion to write. 

T IFE is question of values. Those 
'-^ who are not sensitive to beauty 
— who neither feel exalted nor in- 
wardly disturbed in some mysterious 
manner by a picture, a poem, a strain 
of music — measure success in terms 
of pieces of metal. Despite their pre- 
cautions, despite their clinging pathet- 
ically to conventionsd and ephemeral 
guideposts, they often'terminate Life's 
brief span with but few of these 
same pieces of metal, grudgingly 
wrested from the blighting mills of 
commerce. 

The so-called practically minded 
always lack perspective; always con- 
found their ounce of brass filings for 
a ton of gold dust; always lack a 
true, high-grade sense of humor. 
They cannot envision the terrible 
fact that this planet is probably mil- 
lions of years old; that millions of 
people are being born or are dying 
every day, and that this process will 
continue for millions of years more; 
that every night myriad human au- 
tomatons sleep, rising with the morn- 
ing sun like innumerable nails be- 
neath a magnet. 

/^UR practical friends do not real- 
^^ ize that their fears make them 
automatons from the cradle to the 
grave, their gold-dust filmed eyes 
rendering them blind to beauty — nor 
do they visualize their stories and fac- 
tories and all their business enterprises 
passing as swiftly as flashes of light- 
ning, in the presence of Eternity! 

The writer of photoplays may cre- 
ate a drama that will bring light and 
laughter and love to grown-ups and 
children in all parts of the world, in 
populous cities and at the very out- 
posts of civilization. 




We sold her first story to Thomas H. I nee 



Yet Elizabeth Thatcher ne-vrr dreamed 
she could <wrife for the screen until vie 
tested her story-telling ability. K'ill you 
send for the same test — h'RF.F.f 
Elizabeth Thatcher is a Montana house- 
wife. So far as she could see there tvas 
nothing that made her different from thou- 
sands of other housewives. 

But she wrote a successful photoplay. 
And Thomas H. Ince, the great producer, 
was glad to buy it — the first she ever tried 
to write. 

"I had never tried to write for publica- 
tion or the screen," she said in a letter to 
the Palmer Photoplay Corporation. "In 
fact, I had no desire to write until I saw 
your advertisement." 

This is what caught her eye in the adver- 
tisement : 

"Anyone with imagination and good 
story ideas can learn to write 
photoplays." 
She clipped a coupon like the one at the 
bottom of this page, and received a re- 
markable questionnaire. Through this test, 
she indicated that she possessed natural 
story-telling ability-, and proved herself 
acceptable for the training course of the 
Palmer Photoplay Corporation. 

And Thomas H. Ince bought her first 
attempt 
Only a few weeks after her enrollment, we 
sold Mrs. Thatcher's first story to Mr. 
Ince. With Mr. Ince's check in her hands, 
Mrs. Thatcher wrote: 

"/ feel that such success as I have had 

is directly due to the Palmer Course 

and your constructive help." 

Can you do what Mrs. Thatcher did? 
Can you, too, write a photoplay that we 
can sell ? Offhand you will be inclined to 
answer No. But the question is too im- 
portant to be answered offhand. Will you 
'.ie fair to yourself? Will you make in 
your own home the simple test of creative 
imagination and 

story-telling abil- Advisory Council 

ity which re- 
vealed Mrs. 
Thatcher's un- 
suspected talent 
to her? 

Send for the 
Van Loan 

Questionnaire 
The test is a 
questionnaire pre- 



pared by H. H. Van Loan, the celebrated 
photoplay Wright, and Prof. Malcolm Mac- 
Lean, former teacher of short-story writing 
at Northwestern University. If you have 
any story-telling instinct at all, send for 
this <|uestionnairc and find out for your- 
self just how much talent you have. 

We will be frank with you. The Palmer 
Photoplay (Corporation exists first of all to 
sell photoplays. It trains photoplay writ- 
ers in order that it may have more photo- 
plays to sell. 

With the active aid and encouragement 
of the leading producers, the Corporation 
is literally combing the country for new 
screen writers. Its Department of Educa- 
tion was organized to produce the writers 
who can produce the stories. The Palmer 
institution is the industry's accredited agent 
for getting the stories without which pro- 
duction of motion pictures cannot go on. 
Not for "born writers," but for story- 
tellers 

The acquired art of fine writing cannot be trans- 
ferred to the screen. The same producer who 
bought Mrs. Thatcher's first story has rejected the 
work of scores of famous novehsts and magazine 
writers. They lacked the kind of talent suited 
for screen expression. Mrs. Thatcher, and hun- 
dreds of others who are not professional writers, 
have that gift. 

The Palmer Photoplay Corporation cannot en- 
dow you with such a gift. But we can discover 
it, if it exists. .And wc can teach you how to 
employ it for your lasting enjoyment and profit. 

We invite you to apply th:s free test 
Clip the coupon below, and we will^ send you the 
Van Loan questionnaire. You will assume no 
obligation. If you pass the test, we will send yo.u 
interesting material descriptive of the Palmer 
course and Service, and admit you to enrollment, 
should you choose to develop your talent. If you 
cannot pass this test, we will frankly advise you 
to give up the idea of writing for the screen. It 
will be a waste of their time and ours for children 
to apply. 

Will you give this questionnaire a little of your 
time? It may mean fame and fortune to you. In 
any event, it will satisfy you as to whether or not 
you should attempt to enter this fascinating and 
highly profitable field. Just use the coupon be- 
low and do it now before you forget. 



Thomai H. Ince 
Thnmn.s H. Iiicf 
Studios 

Cecil B. De Mille 
Director G c n- 
e r a 1 Famous 
Players - Lanlcy 
Corp. 

!.*!• Weber 
Lois Weber 
PnMluctions Inc. 



Jaiu L. Lailty 

Vice - President 
Kanioiw Players- 
I.nsky Cnrp. 

C. Gardner Sulli. 

van 
Autllor and Pro- 
duper 

Frank E. Woode 
Chief Supenlj- 
InR Director 
Famous Playcn*- 
Laslcy Corp. 



Jan/es R, Quirk 

Kditor and Pub- 
llAiier Plintoplny 
Maeazinc. 

Allan Dwan 
Allan I>wan 
ProducUons. 

Rnb Watner 
Author and 
Screen Autlior- 
ity. 



wltli tile nucstlon- 
nalrc we will itcud 
you a free sample 
copy of the Photo- 
dramatlRt, orficlal 
oivaii of the Screen 
Writers' Guild of the 
.Author's I..eai:ue. the 
photo playirrisht's 
magazine. 



PALMER PHOTOPLAY CORPORATION Department of Education, 5012 




Plciisp spihI to me. without cost or 
ubU^atlon on my piirt. yuur questlon- 
naJre. I will answer the questions in 
It and return It tu you for aiiatysls. 
If I pass the t4>st, I am to receive 
further Information about your Course 
and Service. Also send free sample 
copy of The Pholodraraatlsl. 



L W. Hellman Bldg.^ Los Angeles^ Cal. 



Name 



Address . 



Page Fiftyaix 



SCBEEMIAND 



THE WEST'S 

GREAT NATIONAL 

MAGAZINES 



SUNSET 

and 

SCREENLAND 

Annotuice 

A 

Combination 

Offer 

of 

$3.25 

for 

A Full Year's 
Subscription 

to 

BOTH 



Newsstand value, SUNSET .$3.00 

Newsstand value, SCRBBNI^ND 2.40 



.-«6.40 
-42-50 



Save 92.151 

Regular subscription value 

Retnilar subscription value 2.00 

Save »1.25 jiiio 

Send your order within tlie next, 
thirty dayc with 93.25. 



Circulation Mgr., SCREENLAND 
Magazine, Dept. S, Markham 
BIdg., Hollywood. Calif. 
In accordance with your special of- 
fer, please enter my order for 
SCREKNLAND and SUNSET for a 
full year. Knclosed find $3.25. 

Name 



Street Number' 



Town — . State 

Magazines may be sent to two 
. different addresses. 
^ ^ 



POVERTY OF RICHES 

{Continued from pa^e Seventeen) 



As John calls up, Steve listens idly. 
After he has finished, Steve's eye falls 
casually on the calendar, say April 27th, 
and then he remembers something; the 
calendar dissolves into a pair of chiming 
wedding bells; and then might dissolve 
into a vision of Katherine in her wed- 
ding veil; and then Steve remembers 
that this is John's wedding anniversary. 
He pictures what it means to Katherine 
that John has forgotten the day;- he 
turns to John as if to tell Kim what the 
day is; reconsiders and decides to let 
well enough alone. He leaves the office. 
It is 5:30 anyway J he'll go home. 

Now Katherine comes home. She has 
a number of little presents with her, 
and goes immediately into the dining 
room, where the table has already been 
partly set for twe\for their wedding an- 
niversary, which it has been their sacred 
custom to celebrate alone. But the table 
is not set prettily enough, for Katherine 
gets busy, with extreme joy, to finish the 
preparations. She puts down some flow- 
ers; she gets six wax candles (or what- 
ever may be number of years they are 
married) in beautiful holders and places 
them on the table. She decorates the 
table as best she can, giving it the per- 
sonal touch. Then she goes to her own 
room to dress for dinner. 

A road in the country — or the suburbs, 
perhaps on the way to the country- club. 
Steve, in his car, .drives up, slows down, 
and then stops. We cut to him in a 
closeup as he is thinking something over 
very seriously. 

We go to John, for a short scene, as 
he is dictating to a stenographer, or 
reading his report. Then we go to 
John's house. Katherine is coming down 
the stairs, in semi-evening dress. She 
goes to the dining room, to give one 
final look around; everything seems 
ready, and she lights the candles. She 
looks at her watch; it is about time for 
John to come home; she begins to show 
concern — may start for 'phone, when the 
maid enters and tells her that she forgot 
to report that John telephoned he would 
not be home for dinner. This comes as 
a distinct and terrible shock to Kather- 
ine. She dismisses the maid, telling her 
she does not care to eat at present. Then 
she walks slowly to the drawing room or 
library, fighting hard to control her tears 
and to keep up, notwithstanding the sor- 
row that is gnawing at her heart. She 
realizes immediately that John has for- 
gotten entirely the nature of the day. 
She sinks into a divan, crying. 

We cut back to Steve. By this time 
he has fully made up his mind what to 
do (closeup). He starts the engine, turns 
the car around, and quickly goes back 
in the direction in which he had come. 

We go to Katherine, sitting in loneli- 
ness, waiting. She turns and looks back 
to the brightly decorated dining room. 
We cut to a medium closeup of the table, 
the freshly lit candles burning brightly, 
and on this we FADE OUT. 

WE FADE IN on the table. The 
candles are almost completely burned 
out, some of them may be sputtering. 
We come to a longer shot, to show Kath- 



erine still sitting, lonely and alone, per- 
haps gazing into the fire, feeling rather 
bitter to the man who has given her so 
much materially, and so little of the real 
things which constitute life to her. 

Then we cut to John, working in the 
dim loneliness of his office. There is a 
tray with some dishes, indicating that 
he has eaten a cold supper. 
' Now back to Katherine. She has 
about given up hope that John will ever 
come when the bell rings. The maid 
crosses through the hall to open the door. 
Katherine realizes it is not John, but a 
visitor. She tries to compose herself as 
Steve enters. Steve has on a Tuxedo, 
and carries a large box of flowers. She 
hides the trace of tears. She puts on 
her best smile, a thing she is used to 
doing. Before he can quite enter the 
room, she crosses quickly to the archway 
separating the library from the dining 
room, and pulls the curtains, to prevent 
Steve from seeing the untouched table. 

Then she greets Steve in a friendly 
manner, he asking for John. She tells 
him that John had to go away again for 
a little while. Steve accepts the lie with- 
out even a smile, and then he gives her 
the box of flowers. She opens them with 
a glad smile, but when she reads the 
card: "For your wedding anniversary," 
it touches a something in her; she buries 
her face in the flowers to prevent Steven 
from seeing the tears that have come. 
But Steve knows, even if he does not 
actually see them. He follows her across 
the room as she is about to put the flow- 
ers down somewhere. He takes them 
from her and turns her around, forcing 
her to look at him. It requires niuch 
will power on her part to look at him 
without betraying her secret of unhappi- 
ness. But Steve gives her no further 
chance to lie. Openly he faces her and 
tells her that he knows the full story of 
her tragedy; how John has been neglect- 
ing her, how hungry she is to have 
children, and how selfishly John has been 
denying her this great wish. He tells 
her that he (Steve) loves her immeasur- 
ably, as he has always loved her. That 
he knows she is not happy, and can 
never be happy under the circumstances. 
He urges her to seize Life while she 
may, and before it is denied her by old 
age. Tenderly he begs her to secure a 
divorce, which can be easily arranged 
in the West, and then to marr>' him, to 
live in New York, and to fulfill her 
destiny — motherhood. Katherine listens 
eagerly; she forgets that she Is married 
to another man, she only knows that 
maternitv beckons to her. 



What is "the poverty of 
riches?" ReaJ Leroy Scott's 
answer to this question in the 
concluding installment of his 
great story — ^in next month's 

SCREENLAND. 



5CIIEENLAND 



Page Pifty-seven 



We are the Greatest 

FICTION reading public in the world. American magazines publish more short stories 
and better ones than the periodicals o f any other country. Foreign observers who 
are travelling in America are struck wi th this fact. They remark upon it, but they 
hasten to add, as a rule, that there is a sam eness about our fiction. Too often, they say, 
an American magazine story lacks the lift, t he surprise, the inspiration which readers 
long for. 



Metropolitan knows that there is some 
truth in this qualification. "We study to 
avoid sameness. We search high and low 
for stories that are fresli, for tales with a 
tang. 

"When a story takes you out of yourself, 
when it makes you realize that life has a 
wonderful range of possibilities far beyond 
the routine to which most of us have to 
become accustomed, when it pictures in un- 
forgettable sentences characters who are 
brave, undaunted and ready to face life, 
and when it finds that life always yields to 
the attack of the unafraid — then the story 
has done something for the reader which is 
worth to him many times the price he pays 
for the magazine he reads it in. 

Masters of Fiction 

Who are the masters of fiction that. In recent 
years, have performed this miracle? Well, Kip- 
ling for one, all will agree; O. Henry for another, 
Stevenson and Conan Doyle, to go further back. 
Then there is Barrie, with his irresistible tender- 
ness and sentiment, Barrie, who makes you think 
of Charles Dickens. What would you not give 
for a story which has some of the qualities of 
these writers, a story by a novelist who has 
proved that he lives in the same street with 
Kipling. O. Henry, Stevenson. Conan Doyle and 
Barrie? 



Tristram Tupper 

Within the last few mouths the Metropoli- 
tan has published several stories by a new- 
writer, named Tristram Tupper. These 
stories were " Terwilliger, " "Grit'' and 
"Tlie Man Who Knew Nothing on Earth." 
If you read them you will agree, we believe, 
that Tristram Tupper has some of the qual- 
ities of the great imaginative writers we 
have been talking about, that he lives in 
the same street with them, that a Tristram 
Tupper story does take you out of yourself 
an<l make the world all over anew. 



The House of the Five Swords 

In the December Metropolitan we are beginning 
the publication of Tristram Tuppers first big 
novel. It is called "The House of the Five 
Swords." The meaning of that romantic title wo 
leave to you to find out as you read the story. 
But we must tell you that in "The House of the 
Five Swords" you will meet some characters 
which you are not accustomed to meet in every- 
day fiction. You will find romance as fresh and 
genuine as anything we could wish to offer you. 
In a story like this American fiction makes good 
its title, the best in the world. And Metropoli- 
tan lives up to its promise and its policy, to 
provide a genuine thrill, surprise, happiness and 
inspiration. 



December Metropolitan is published November 15th, 25 cts, at yom* news- 
stand, or if 70U prefer— send us $3.00 and Metropolitan will be mailed to 
vour home for a vear. 

MetiDDolitan 



H. J. WHIGHAM, Publisher 



432 Fourth Avenue 



New York City 



Page Fifty-eight 



SCREENLAND 




Alice Lake 

This Famous Movie Star Writes: 

"When you want a sone you have writ- 
ten set to music, send your words to the 
Metropolitan Studios. Tlien you're sure 
of a musical setting by the best of 
America's creative genius." 

Write The Words 
For A Song 

Be the author of a song, words and 
music copyrighted in your name. Take 
love, home, mother, patriotism, etc., for 
your subject. Just write the words for 
two verses and a chorus. Be simple, 
earnest, sincere. The idea counts. Small 
mLstakes we correct. 'The whole world 
wants new songs. Make your bid for 
success b.v sending us the words for a 
song. 



SEND FOR COPY 
OF OUR FAMOUS 
SoBf Writer' I Gaide 



FREE 



Get this wonderful help free. The 
"Song Writer's Guide" tells how to write, 
what to write about, how copyright is 
obtained, how to deal with publishers, 
etc. Explains liow we help song writers 
by editing po<Mns. composin; 
music, printing of artists' 
copies, etc. De- 
scribes our staff, 
including such 
famous composers 
as Edouard Hcssel- 
berg, Leo Friedman- 
and Edward Duffell. 
This Guide strips the- 
mystery away and 
shows the simplicity of 
.song writing once yi>u 
know the easy principles. 
Don't fail to get the 
Guide. It is absolutely frei- 
Just send for it — and do so 
today! 

Metropolitan Studios. Room 376. 
914 S. Miclilian Ave., Chicaio, III. 




Metropolitan Studios, 

Room 376, 914 S. Michigan Ave^ 

Chicago, Hi. 

Gentlemen: 

Please send me copy of "Song Writer's 
Guide" free. (Note. — ^If you send song 
poem for free opinion, be sure to fill in 
name of your song). 



Title of Song .... 
Tour Name .-.._ 
Street .\ddress 



City - State 




Made WHILE the Movies Are Made 



" 'Made where the movies are made' — you don't have to tell us 
that," writes an enthusiastic reader. "SCREENLAND is so interest- 
ing it proves it." 

But that is only half of it. Please notice that SCREENLAND is 
also "made WHILE the movies are made." And right in the very 
studios, at that, Agnes Ayres permitted herself to be propped up on 
a brace of wardrobe trunks in her dressing room at the Lasky-Para- 
mount Studios so SCREENLAND'S artist, D. Anthony Tauszky, ac- 
tually painted the December cover portrait between scenes while Miss 
Ayres played the star role in "The Lane That Had No Turning. 



\X7H EN you find a sub- 
^ scription blank in 
your magazine, it is a sign 
that your subscription has 
expired. 

Send in vour renewal at 
once so that there will be 
no break in your sub- 
scription. 



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5CREENLAND 



Pag* Fiftffftin* 



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Pag4 Sixtg 



SCREENLAND 






HIGH SCHOOL 

COURSE IN 
T\^fO TEARS 



You Want to Earn 
Big Money! 

And you will not be satisfiei) unlesa 
you earn ateady promotion. But are 

you prepared for the job ahead of 
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Let us show you how to get on the 
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today. It costs you nothing but a stamp. 

AMERICAN SCHOOL 

^^^H-»inh I^rexel Ave. & 58th Su, Chica«o 



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Architect .Lawyer 

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Draftsman and Designer Telephone Engineer 

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Electric Light & Power High School Graduate 

.•.mOeoersl Edooattoo J^ Insurance Expert 

Mama. ,...... ,, , w™. 



'.A'SStatei 



-: IN SCREENLAND /. 



B^ MYRTLE GEBHART 



Two wishes of my young life 
have been gratified, both at 
once: I have seen Stuart 
Holmes make love to Gloria Swan- 
son, in person, and I have been to 
a barbecue! What more, I ask 
blasely, can life ofler? 

The scene was the Paramount 
ranch, whence the Lasky publicity 
chiefs, had carted some fifty of us 
magazine and newspaper scribes on 
a barbecue jaunt. There were long 
tables, behind which white-aproned, 
yellow-sashed Mexican chefs con- 
cocted wicked-looking foods. There 
was a big bump of ground under 
which, I was told, the beef was 
cooking. We had a wonderful 
spread of tortillas, enchiladas and 
other pepperish things. 
The picture in the making was 
The Husband's Trademark and Glo- 
ria is boasting a wickedly handsome 
new leading man, Richard Wayne. 




All Screenland turned out to wel- 
come Scotti and his troupe of song- 
birds during their operatic engage- 
ment in Los Angeles. On the open- 
ing night "Manon Lescaut" was 
sung. The cynosure of all eyes was 
Enid Bennett (Mrs. Fred Niblo), 
radiant in the possession of a beau- 
tiful new baby and an ermine wrap. 
I noted Mrs. C. Gardner Sullivan, 
wife of the rapid-trigger writer, 
gowned in black satin with blue and 
silver embroidery; Mrs. Charles Ray, 
also in black with a cape of chin- 
chilla fur and gray satin ; Mrs. Jesse 
Lasky and Mrs. Cecil B. de Mille. 

"Zaza" night, however, was the 
gala occasion, for all movieland ap- 
plauded Geraldine Farrar, guest 
artist, who sang the title role. Betty 
Blythe was gorgeous in black and 
silver brocade, with an exotic Span- 
ish shawl — to match the opera!— of 
cream with red and green embroid- 
ery. Kathlyn Williams was in white 
satin with crystal beads; Mrs. 
Charles Ray in black with jet trim- 
mings and Blanche Sweet in embroi- 
dered gold cloth. Bebe Daniels 
wore a gown of white sequins, Col- 
leen Moore a Colonial frock of jade 
and silver, and Mrs. Eric von Stro- 
heim cerise velvet and mink. Far- 
rar was in wonderful voice. 



"Parisian Night" at the Ambas- 
sador Hotel Cocoanut Grove found 
Claire West, designer of costumes 
for Cecil de Mille, an honored 
guest from soup to demi tasse. For 
a dozen of her intriguing creations 
were shown, on living models, as a 
special feature of the entertainment. 
Miss West has also received the 
special honor of having some of her 
frocks exhibited at the Metropolitan 
Museum of Art in New York City 
— and to society women of San 
Francisco, where she addressed the 
Fine Arts League of that city on 
the relation of screen clothes to 
those for real life. Frenzied wires 
come to her from all over the coun- 
try anent the threatened long skirt 
— which she says Avill never become 
popular. But maybe the rest of the 
country doesn't boast the beautiful 
ankles of the de ■ Mille garden of 
beauties ! 



I wish Jack Dempsey would hur- 
ry up and get married. His report- 
ed affaires de coeur are causing me 
almost as much worrj' as Chaplin's. 
I am afraid to go to sleep at night, 
for fear he will be "off with the 
old and on with the new" before I 
wake — and I won't be in on the 
details. But Bebe Daniels is wear- 
ing his gift, a bediamoned wrist 
watch — which is prophetic. May 
Collins seems to favor Richard Dix 
at the moment. Chaplin's heart is 
(Continued on page sixty-one) 



SCREENLAND 



Paga Sixty-ont 



In Screenland 

(Continued from page sixty) 

vol])laiiing — say the rumors — be- 
tween Paris and Claire Windsor. 



Mildred Davis and Harold Lloyd 
are seen continually together ; and 
it seems pretty certain that tuiptials 
will ring out one day for Martha 
Mansfield and Crane Wilbur, who 
are now in vaudeville together, she 
having turned down a starring offer 
in the films to appear with him. 
That's wiiat love does to you. 

A new flivver coupe has replaced 
Eddie Sutherland's big car. But 
May MacAvoy is such a tiny thing, 
she doesn't need more'n an inch or 
two of space. And Eddie doesn't 
ride with anyone but May! 

The Ambassador Cocoanut Grove 
— one of filmdom's favorite congre- 
gating places — was the scene of a 
Scottish party the other night. Jul- 
ian Eltingc was there, convalescent 
from liis recent operation for appen- 
dicitis; Thomas Meighan and his 
wife; and Ruth Roland with, I do 
believe, her ex-husband ! I also no- 
ticed Mary Miles Minter, Lottie 
Pickford, Ella Hall with Emory 
Johnson (who has a better right to 
be with Emory?), Ford Sterling 
and Eileen Percy. 

Here's a little tip about Eileen 
Percy — never make her angry at 
you! For 'tis said by those who 
work on the set with the little lady 
that she can beat Billy Sunday in 
the choice of words — but doesn't al- 
ways apply tliem with the evangel- 
ist's intention. Also that Eileen 
swings a wicked fist — and puffs a 
ferocious cigaret. Wonder when Ei- 
leen will adopt the pipe — and be a 
perfect gentleman? 

Girls have nothing on Pat Moore. 
Had a birthday himself, t'other day, 
and took all the kids to a party 
down to the show where The Queen 
of Sheba was holding forth. Pat 
made a speech up on the big stage 
and presented his five-year-old broth- 
er, Mickey Moore, and his Shetland 
pony, on which he rode to visit Sol- 
omon, in the film. Jackie Coogan, 
Bennie Alexander and "Breezie" 
Eason said they had a great time. 
Betty Blythe felt honored, being the 
only grown-up invited to the party. 

Though . cool breezes attack the 

rest of the country, California still 
(Continued on page sixty-three) 



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Page Sixty-two 



SCftEENLAND 



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of special candy recipes, written by the stars, will appear in this space. If 
you have a sweet tooth, write the Menu Editor and tell her the kind of candy you 
want to learn to make. 

The following menu for the big Yuletide meal was especially prepared for 
SCREENLAND readers by the stars themselves: 

Blue Points 

Colleen Moore Cream of Artichoke 
Soup 

Salted Almonds 



Anita Stewart Roast Stuffed Turkey 



Bread Sticks 

Celery 

Cranberry Jelly 

Will Rogers Mashed Turnips 



Leatrice Joy Plum Pudding 



Cheese 



Cafe Noir 



YOU WRITE THE WORDS FOR^A SONG 

We write the music, publish and secure a 
copyright. Submit poems on any subject. 
Do not let another day go by without sub- 
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be the song writer of tomorrow. 

THE METROPOLITAN STUDIOS 
114 So. Michigan Ave., Dept. 272, Chicago, 111, 



COLLEEN MOORE CREAM OF 
ARTICHOKE SOUP 

3 artichokes. 
3 cups boiling water. 
2 tablespoons butter. 
2 tablespoons flour. 
1 teaspoon salt. 

Cayenne 

Nutmeg. 
1 cup scalded cream. 

1 egg. 

2 cucumbers. 

Boil artichokes until soft ; sieve. Melt_ 
butter, add flour and seasoning, pour on 
hot liquor and cook one minute. Add 
egg slightly beaten and cream. Saute 
cubed cucumbers and add to soup. 

ANITA STEWART ROAST 
STUFFED TURKEY 

Dress and clean turkey. Rub with 
salt, then with butter and flour. Shake 
bit of flour in bottom of pan. Cook in 
hot oven until flour on turkey begins to 
brown. Reduce heat and baste every 
ten minutes until turkey is done, which 
will be three hours. Baste at first with 
butter melted in boiling water; then 
with fat in pan. Pour water over fre- 
quently to prevent burning. Turn tur- 
key often. Remove strings and serve 
with parsley garnishment. For stuff- 
ing, mix 3 cups stale bread crumbs, J4 
cup melted butter, salt and pepper; add 
1 pint, cleaned and ilrained oysters. 



WILL ROGERS 
MASHED TURNIPS 

(Will says this is a regular "he- 
dish".) 

Wash, pare and cube turnips. Cook 
cubes in boiling salted water until soft. 
Drain, mash and season with salt, pep- 
per and butter. 

LEATRICE JOY 
PLUM PUDDING 

(Leatrice prefers the old-fashioned 
J)! urn pudding of Grandmother's days.) 

5 ozs. flour. 

5 ozs. stale bread crumbs 
^ lb. raisins, seeded. 
^ lb. suet, chopped fine. 
^ lb. sugar. 
1 cup molasses. 

3 ozs. candied orange peel, cut fine. 
1 teaspoon grated nutmeg. 
^ teaspoon mace. 
\}^ teaspoons salt. 

5 eggs, well beaten. 
Mix ingredients, pour into thickly 
floured unbleached cotton cloth. Tie, 
leaving space for swelling, drop into 
kettle of boiling water. Cook this way 
for five hours. Serve with hard sauce. 



SCitEENLAND 



Page Sixty-three 



In Screenland 

(Continued from Page Sixty-one) 

basks under her sun^and mermaids 
go out and whisper to the waves. 
At Crystal Pier the other daj' I saw 
Marshall Neilan acting very gallant 
to Mary Miles Minter. Gaston 
Glass was attentive to Mary's sis- 
ter, Margaret Shelby, even to the 
point of asking her if he could go 
in the water. When she gave her 
gracious permission, Gaston frolicked 
in the Ocean — not very far in the 
Ocean! — with Mary, while Mar- 
garet sat on the beach and admired 
the intricate castles Mr. Neilan's 
little son was erecting in the sand. 
Margaret was all in white broad- 
cloth, wearing the new long skirt. 
Rosemary Theby looked younger 
than ever, in her trim suit of gray, 
with a jaunty red turban. And 
Mary wore a stunning blue and 
yellow bathing suit — noticeably mod- 
est — with a cap of little petals and 
fringes of green rubber which she 
brought with her from Paris. 

I don't as a rule go into ecstasies 
over gentlemen in bathing suits, but 
I must admit that Marshall Neilan 
is a handsome thing in his sky-blue 
affair, with his muscular body and 
gloriously tanned skin. Bert Lytell 
was wearing a nice tan and May 
Collins a worried expression — Rich- 
ard Dix wasn't there. Constance 
Binney — having migrated here re- 
cently from the cold clime of 
Gotham-^thought the water "nice" 
and stayed in for ever so long, 
though most other folks were chilly 
toward late afternoon. 



Well, at last "the Bool" has won 
his fight. The toughest encounter 
this gentleman of the cauliflower 
ear has ever had was with a party 
named American Constitution, for 
Bull Montana had to floor his ad- 
versary and learn all his personal 
history as a part of his course in 
Americanization necessary to obtain 
voting rights. However, after nu- 
merous failures, it was at last ac- 
complished; and Luigi Montagna, 
ice-man, pugilist and actor, is now 
Louis Montana, a citizen of the 
United States and Hollywood. 

Natalie Talmadge Keaton is so 
happy she can't make her feet be- 
have — for Norma and Constance are 
packing up their thousand or so 
frocks, preparatory to migrating to 
Hollywood, Where Norma's first pic- 
ture will be Robert Hichens' "Voice 
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*Note. — ^In the advertisement of the "Photodramatist" magazine in the November Issue 
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ficial organ of the Screen Wrltsra' GulM. 



Page, Sixty-four 



SCREEMLAND 




EVEIIY married man or woman, ami tliose In- 
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Only Part of Contents 

The Double Standard i Four InfalUble Means 1 



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The Woman at Forty 
The Limitation of Off- 
spring 
The Wrecking of Hu- 
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For Young Men 
The Price of a Kiss 
Torturing the Wife 



for tile Prevention of 

Conception 
Women Defending 

Tlteir Honor 
The I^ancerous Age 
Unfaithfulness and 

Forijiveiiess 
Contraception and 

Abortion 
The Duration of Our 

Passions 



When the Husband i Illegitimate Mothers 



Is at Fault 



Separate Beds 



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Little Hints to 
Picture^oers 



THE BLUEBIRD— /Irtcra/t 
Maurice Tourneur's idea of Mae- 
terlinck's Enchanted Woods, Palace 
of Night and other fantasies of the 
Belgian poet. Will be welcomed by 
teachers and welfare societies. 

I kCCHSE^Vnked Artists 
(French) 
The intense French war-time novel 
reaches the screen somewhat tardy. 

ONE ARABIAN NIGHT— i4*»oc»- 

ated First National 

A beautiful, unusual continental 
drama, but unfortunately based on a 
moral plane abhorrent to American 
picturegoers. Pola Negri voluptu- 
ous, fascinating. 

THE LEISURE CLASS— Chaplin 

Charlie accomplishes a double role. 
As a tramp he is mistaken for the hus- 
band of a society woman. His fans 
will not be disappointed. 

HEADIN' HOME— Babe Ruth 
As a screen actor the Bambino 

makes a good ballplayer. Babe Ruth, 

a home run and a girl. 

MORAL FIBRE— Vitagra^h 

Corinne Griffith and topheavy 
d rammer. 

SHAME— Fojc 
Chinatown blood and thunder. 

PILGRIMS OF THE NIGHT— 

Assoc. Prod. 
Rubye de Rcmer emotes in English 
aristocracy. 

PLAY SQUARE— Fo* 
Another mother picture. She wor- 
ries for likeable Johnny Walker, 

SHAMS OF SOCIETY— Robertson 
Cols 

Slushy start, C. B. DcMille stuff- 
ing, fair ending. 

THUNDERCLAP— Fo* 
Plot goes off like popgun in nerv- 
ous hands. You can sleep through 
most of it. 

PASSING THRU— /nc« 
Douglas MacLean is a little im- 
probable, but funny. 

(Continued on Page 66) 



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MASONIC TEMPLE, CHICAGO. 

WHY DON'T YOU 

Write the Word, for a Song? 
You can do It, Write about Love, Mother, 
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Edward Trent, 681 Reaper Block, Chicago 



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Protect nnd market your stories 

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SCREEKLAMD 



Page Sixty-five 



Pictures Reviewed 
In This Issue 



Kee{> This List for Your Theatre 
Guide 



On Pages 24-25 

No AVoman Knows 

A Trip to Paradise 

Dangerous Curve Ahead 

Dovibling for Romeo 

The Masked Avenger 

Forever 

The Princess of New York 

The Sheik 

On Pages 44-45 

Gypsy Blood 

Poverty of Riches 

Bing Bang Boom 

Never Weaken 

The Child Thou Gavest Me 

The Case of Becky 

The Journey's End 

The Rage of Paris 

On Pages 64-66 

Cappy Ricks 

The Leisure Class 

The Bluebird 

Play Square 

Pilgrims of the Night 

Shame 

Headin'Home 

Moral Fibre 

One Arabian Night 

I Accuse 

Shams of Society 

Thimderclap 

Passing Thru 

The Night Horsemen 

Open Shutters 

A Virgin Paradise 

Something New 

Perjury 

Quo Vadis 

The Girl from God's Country 



No 
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Announcement 

The Cadtnan musical scores of 
OMAR 'which appeared on 
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are copyrighted by the publish- 
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Little Hints to 
Picture^oers 

(Continued from Page Sixty-tour) 



THE NIGHT HORSEMEN— Fo;c 
A seltzer-water picture. Try black 
coffee afterwards. 

OPEN SHUTTERS— I/n»t;cr»a7 
Edith Roberts tack? up frayed edges 
of worn plot. 

A VIRGIN PARADISE— Fo* 
Pearl White as a wild savage lady. 

SOMETHING NEW— 

NeJl Ski^man 
It is. Literary lady, captured in 
Mexico, gets rescued by motor in- 
stead of bronco. Fit for gentlemen 
under 10. 

PERJURY— Fo* 
William Farnum and heroics. 

GAPPY RICKS— Paramount 
A he-picture the ladies will be wild 
about. Thomas Meighan on a five- 
reel sea journey with Agnes Ayres 
for a port well worth struggling for. 

QUO VADIS— 

Even the youngsters recognize this 
as a re-issue. All the marble is 
strangely reminiscent of Childs'. 

THE GIRL FROM GOD'S 
COUNTRY— NeW Shi^man 

A modern melodrama that will 
make you glad you're not a high- 
brow, so you can enjoy it. 



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Manager Boys' and Girls' Club, 

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